obviously it's really just opinions, there is no such thing as "good music". I have pretty strong opinions especially when it comes to popular music that I have to hear often and against my will. I resent it.
The original 1985/86 CD is a great recording. The remastered version is practically unlistenable. So make sure you have the original version.
Tom
That's probably a function of the same five tracks being played over and over at hifi shows (or review videos). My brain can only handle so much "single female vocal" before it starts melting and running out my nose.
Tom
Hifi shows is a reliable way to get your product in front of prospective customers. It's also a good way to see what's going on in the market and rub elbows with other players in the field. But they honestly aren't great for evaluating equipment (regardless of whether you think subjective evaluations are valid or not). The setups are often limited by the room.
Tom
Tom
I have a Russian vinyl copy of The Stooges 'Fun House'.
Got it cheap from a record fair because there was a Fun House shaped gap in my collection for a long time.
Great record, though I assume quality is like my Russian Lou Reed album 😁.
Test albums I can't listen to anymore:
Roger Waters - Amused to death
Yello - Touch
Kate Bush - Aerial
Normally I choose the albums I really like and are not overproduced.
Morphine - Cure for Pain
Miles Davis - Panthalassa
and some other guilty pleasures 😄
Test albums I can't listen to anymore:
Roger Waters - Amused to death
Yello - Touch
Kate Bush - Aerial
Normally I choose the albums I really like and are not overproduced.
Morphine - Cure for Pain
Miles Davis - Panthalassa
and some other guilty pleasures 😄
It annoys me immensely that so many rooms at hi fi shows just play simple music typically comprising a voice and one instrument. Who do they think they are kidding?? It’s so refreshing when you encounter a room where they are playing playing complex music that’s much more challenging to reproduce.
PS. Morphine - Great record 👍
PS. Morphine - Great record 👍
@StigErik ,
It seems you're right and I got thrown off by the statement "mastered for" digitally instead of "mastered in" digital.
Interesting enough though for full digital imho:
The Neve DSP-1. This was introduced in 1983 but only 8 were made - 7 for broadcast companies such as the BBC and WDR (Germany) and 1 for CTS in London. CTS is Cine-Tele Sound studios - started in the fifties and later (in the early seventies) moving to the site of the former De Lane Lea studios (the Beatles recorded "It's All Too Much" at De Lane Lea). As their name indicates they mainly recorded music for film and television soundtracks (including scores by John Barry and Jerry Goldsmith). So none of these desks were used to record "pop" albums.
These desks were so complex that the first two (CTS and BBC) were not actually used commercially until early 1985! They employed 24 bit channel processing, including EQ, delay and dynamics, and the mixing software used 32 bits. Not too shabby for the era. The analog to digital converters were 16 bit in the first two desks built and 18 bit in the later units.
It would therefore seem likely that the first all-digital multitrack production (in terms of recording and mixing) was a film soundtrack from 1985 - given that the very first unit to be delivered was the one used by CTS.
https://forums.stevehoffman.tv/thre...ings-using-digital-mixing-desks.257168/page-4
It seems you're right and I got thrown off by the statement "mastered for" digitally instead of "mastered in" digital.
Interesting enough though for full digital imho:
The Neve DSP-1. This was introduced in 1983 but only 8 were made - 7 for broadcast companies such as the BBC and WDR (Germany) and 1 for CTS in London. CTS is Cine-Tele Sound studios - started in the fifties and later (in the early seventies) moving to the site of the former De Lane Lea studios (the Beatles recorded "It's All Too Much" at De Lane Lea). As their name indicates they mainly recorded music for film and television soundtracks (including scores by John Barry and Jerry Goldsmith). So none of these desks were used to record "pop" albums.
These desks were so complex that the first two (CTS and BBC) were not actually used commercially until early 1985! They employed 24 bit channel processing, including EQ, delay and dynamics, and the mixing software used 32 bits. Not too shabby for the era. The analog to digital converters were 16 bit in the first two desks built and 18 bit in the later units.
It would therefore seem likely that the first all-digital multitrack production (in terms of recording and mixing) was a film soundtrack from 1985 - given that the very first unit to be delivered was the one used by CTS.
https://forums.stevehoffman.tv/thre...ings-using-digital-mixing-desks.257168/page-4
Depends on the kind of aberration you are looking for. I once did a simple blind test with myself as test person to check if I could hear a difference between 16 bit PCM and 4 bit ADPCM. I heard the ADPCM distortion every time when listening to Tracy Chapman's "Behind the wall", just her singing, no guitar or anything, while it got masked with more complex music.
IIRC one of the common recordings Sean Olive uses for listening panel speaker evaluations is Tracy Chapman's "Fast Car."
That's a great song, and was used a lot for speaker demo's, especially smaller standmounts that didn't have deep bass.
jeff
The bass drop within the first couple of seconds of Fast Car was always used to demo subwoofers by HiFi store guys back in the day! I recall first hearing a Velodyne ULD-15 with that track and was really blown away (it was probably the first really good sub I had ever heard).