Exactly like the marketing of HDTV's, which on display in the stores are always set on "Vivid", or some such thing, so the greens look nuclear and the skin tones like a full day on the tanning bed. Display such a TV next to one with accurate colors, and the accurate one will never sell.The point the presenter makes is that to sell modern music radio air play is absolutely essential. And as he says, when a normal dynamic recording is buttend up against a super-compressed one, the normal one sounds completely washed-out. Nobody would buy it.
I wouldn't say that. I would say that we live in a world in which, for a variety of reasons, people's attention spans are growing ever shorter and more fragmented. One of the results of that is to increase the motivation to grab people's attention by any means necessary. The problem with that is that the real appreciation of quality in almost any area of human endeavour requires both knowledge and time.This world is mad, and the audio world no less.
Yeah, I guess you're right, it's probably always been this way.The problem with that is that the real appreciation of quality in almost any area of human endeavour requires both knowledge and time.
I would like to think that somewhere there is, apart from in the classical world, an uncompressed or limited vocal recording, but I doubt it very much, even for Richard Hawley. In voice capture the most important part of the vocal recording chain is a compressor / limiter.At least I can listen to Richard Hawley's Truelove's Gutter cd to prove to myself that there is still hope.
Modern mastering kills music by crushing it's dynamic range to make it more marketable to those who do not know any better.
Excellent introduction here. Tragic quote "In the next 30 years there's going to be a lot of deaf people walking around."
DAW = digital audio workstation ( a computer/software deticated to editing audio)
Bob Katz Part 1 here.
Bob Katz Part 2 here
Bob Katz here.
Vocals HAVE to be compressed in pop music. As an illustration of the relative dynamics between voice and instrument, consider this: Imagine standing next to a drummer playing. You can shout loud enough that they could hear you asking to stop playing, but speak and they wouldn't hear you. This illustrates the dynamic range of the voice.Not being a recording or mastering engineer, I wonder if it's really possible to properly record a powerful singing voice 'close up' with no compression. maybe the addition of some compression is a standard thing added without thought?
Yes I watched that. It was indeed very interesting.An interesting read! Has anyone been watching Soundbreaking on SkyArts about the history of recording? It's fascinating, especially an epsiode where there's a clip of Les Paul and Mary Ford demonstrating multi-track recording. People's minds were blown!
This music recorded in MPS studios in Germany would never come into being if not multi-track recording technique. I remember the posters of Bonnie Herman at mike and all four singers (where from? - I do not know) in our local jazz club in those times. We all got suddenly in love with beauty of Bonnie and the mellow voices of the group after their debut album applauded so warmly by jazz presenters and musicians in radio. Singers Unlimited were enormously popular in 70's. They are still great inspiration for next generations of a capella bandsAn interesting read! Has anyone been watching Soundbreaking on SkyArts about the history of recording? It's fascinating, especially an epsiode where there's a clip of Les Paul and Mary Ford demonstrating multi-track recording. People's minds were blown! https://vimeo.com/82828405
And here's an image of the TEAC 2340, a popular early (1973) home multitrack recorder, four tracks on ¼ inch tape