- Jun 4, 2016
Recordings are criticized and applauded on many sites. This is an audio hardware site. This guy in France has the beginnings of a great website comparing and contrasting all audio mediums of albums.https://www.biline.ca/audio_critic/critic1.htm
“What is the number one determinant of sound quality in an audio system?
The recording you are playing, without the slightest doubt. The recording microphones, acoustical conditions, and engineering decisions at the recording site introduce much greater sonic variability than any hardware component in a half decent playback system. Buy well-recorded CDs.”
By Peter Aczel
More about the loudness wars? No, not quite although one can’t help but include it in any discussion about recording quality.
I’ve read pages and pages of discussions about differences in the measurements of the electronics that operate between the source and the loudspeaker most of which are completely inaudible barring the occasional complete horror. Every now and then some brave soul arrives on ASR and gets burnt for producing a product that performs below the current high standard of the best engineered products.
The fact is in a properly set up DBT test very few of us could tell the difference between the highest and lowest tiered electronic products and without the measurements to reference I expect most of us would be delighted with their performance.
The differences in recordings is often quite apparent. Thanks to the seeming constant remastering of many of the popular recordings we are in a position to make comparisons between one recording and another of the same albums.
There are recordings those who remaster can do little about because of the condition of the original recording although I’m led to believe there is technology that make improvements to even the worst recordings.
The more recent recordings on digital equipment do not have many of the limitations of those made say in the nineteen sixties but to my ears many of these more recent recordings sound worse than those done with equipment that limited the possibilities.
What is the point of spending thousands of pounds trying to achieve maximum fidelity to the recording if the recording is terrible?
When an equipment designer/manufacturer produces a below par product ASR has no problem pointing out it’s shortcomings and in a few cases the designer/manufacturer responds by addressing the issues.
Why don’t we do something similar with recordings; a name and shame type approach given it’s the recording that matters most.
There are plenty of contributors on ASR who describe themselves as recording engineers and it seems have no problem joining in the criticisms of the equipment manufactures. Lets hear what they’ve produced and rate their level of competency.
You never know, given enough pressure we might get some recordings that warrant the level of excellence the equipment used to produce them has.
What is the best edition of an album, vinyl, cassette, digital (CD, SACD, Streaming), in stereo, 5.1, Dolby Atmos or Sony 360 RA? Who has never asked this question?