cliveb wrote: 
> Using the word "fashion" hits the nail on the head. Extreme compression
> and peak limiting is the currently fashionable way to master recordings.
> But as we all know, fashions come and go.
> 
> ...
> And so it is with mastering these days. The herd mentality requires that
> they compress the hell out of everything - not to do so would result in
> other people pointing and laughing. The goal is no longer to make things
> as loud as possible - the characteristic sound you get from extreme
> compression is what they're aiming for. Extra loudness is a secondary
> "benefit".
> 
> Those of us who long for the days of sensible mastering practices are
> like the older generation who back in the 1970's used to tell me I
> looked ridiculous and to get a haircut. And of course in retrospect they
> were right.

I believe that we can thank the MP3 wave for the changes (not to
better!) in music production and mastering... for the loss of music
information in lssy (I know there should be an 'o' there!) compression
had to be somehow "outsmarted". 
The remastering part proved to be mostly just another way to take the
money out of your pockets with false pretext not communicated  - so
called "enrichment" of the recording. E.g: I had the ooportunity to
listen the original CD edition 'We Get Requests' by OSCAR PETERSON and
the relatively recently released remastered version - the latter
definitely not making for long its stay in my collection.
I keep seeing the efforts led mostly by the ideas of commercial and/or
convinience results - rarely by quality; being not so young but not so
old as well, I remember it being different. 

... And speaking of 16 bits or more ... it certainly is not all in the
bits or kHz, but how you use what you "have at hand". I still use an old
VTL DAC with a (well, Lavry-concieved) UtraAnalog module inside that
supports "up to 20 bits /48kHz"; people 'round me (and myself included)
have yet to hear more many that outperfom its reproduction of digitally
encoded music.


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