Via Wikipedia: "A discussion on how overuse of compression on modern compact discs is ruining the sound and dynamic range with particular reference to Vapor Trails by Rush," by Rip Rowan. Excerpt:
"Here is a side-by-side picture showing a sample of audio from five different Rush CDs. On the top is the latest CD, Vapor Trails (2002). Below that, going back a few years, is a sample from the Counterparts CD (1993). Going back a year is a sample from the Roll The Bones CD (1992). Next is 1985’s Power Windows, the first Rush CD to be recorded entirely digitally. On the bottom is a sample from the Grace Under Pressure CD (1984) which immediately preceded Power Windows and was recorded to analog.
An earlier excerpt:
"Over the past few years, record labels have increasingly attempted to dictate to the artist and producer the target volume level of the CD. For some reason, record labels have it in their head that 'LOUD' equals good, and therefore, 'LOUDER' equals better. Not caring to understand even the basics of audio, these morons simply demand more volume (typically from the mastering engineer) and really don’t understand--or care--about the consequences of their demands.
"Mastering engineers are caught in a Catch-22. If they do not deliver a product that is appropriately LOUD, then they are considered inept by the labels and are shunned. If they refuse to destroy the artist’s music, then they aren’t being 'team players' and quickly fall out of favor. But if they provide what the customer demands (and remember, the label, not the band, is the customer) then they ruin a perfectly good piece of music, and they know that sooner or later, people are going to figure out why the sound is so horrible, and then the mastering engineer will be blacklisted for having followed orders.
"Having said all that I really don’t know what I would do in their shoes. If someone offered YOU the opportunity to master a Rush CD, and then told you that you would have to destroy the sound quality in order to get the job, how would you respond? It isn’t a clear or easy choice."
[G.K. Wicker brought up this issue on this blog awhile back. The comparison chart really hits it home. Another reason to hate the record companies--besides limiting creative freedom, they are conspiring to destroy our hearing. --tm]
|
Via Wikipedia: "A discussion on how overuse of compression on modern compact discs is ruining the sound and dynamic range with particular reference to Vapor Trails by Rush," by Rip Rowan. Excerpt:
"Here is a side-by-side picture showing a sample of audio from five different Rush CDs. On the top is the latest CD, Vapor Trails (2002). Below that, going back a few years, is a sample from the Counterparts CD (1993). Going back a year is a sample from the Roll The Bones CD (1992). Next is 1985’s Power Windows, the first Rush CD to be recorded entirely digitally. On the bottom is a sample from the Grace Under Pressure CD (1984) which immediately preceded Power Windows and was recorded to analog.
An earlier excerpt:
"Over the past few years, record labels have increasingly attempted to dictate to the artist and producer the target volume level of the CD. For some reason, record labels have it in their head that 'LOUD' equals good, and therefore, 'LOUDER' equals better. Not caring to understand even the basics of audio, these morons simply demand more volume (typically from the mastering engineer) and really don’t understand--or care--about the consequences of their demands.
"Mastering engineers are caught in a Catch-22. If they do not deliver a product that is appropriately LOUD, then they are considered inept by the labels and are shunned. If they refuse to destroy the artist’s music, then they aren’t being 'team players' and quickly fall out of favor. But if they provide what the customer demands (and remember, the label, not the band, is the customer) then they ruin a perfectly good piece of music, and they know that sooner or later, people are going to figure out why the sound is so horrible, and then the mastering engineer will be blacklisted for having followed orders.
"Having said all that I really don’t know what I would do in their shoes. If someone offered YOU the opportunity to master a Rush CD, and then told you that you would have to destroy the sound quality in order to get the job, how would you respond? It isn’t a clear or easy choice."
[G.K. Wicker brought up this issue on this blog awhile back. The comparison chart really hits it home. Another reason to hate the record companies--besides limiting creative freedom, they are conspiring to destroy our hearing. --tm]
- tom moody 8-22-2006 9:11 am