I don't see the fuss. A guy is trying to prove he can replace _live_
musicians, but does so by posting _recordings_, some of which are so
badly reproduced they could never be mistaken for live players, even
though the recordings were once made from live players. His
computerized recording sounds as good, or better, as some of the badly
reproduced recordings. This proves nothing as far as a computer
replacing humans. It proves that computer reproduced sound is
inconsistent, no matter what the original source.
Put the computer producing the sounds in a blind test in the same room
alternating with live musicians, _who are playing with no electronic
amplification_. That is the only test would mean anything.
Raymond Horton
Christopher Smith wrote:
On 6-May-07, at 6:51 PM, shirling & neueweise wrote:
the differences would be even more evident at a higher resolution,
the aliasing significantly alters much of the real sound: winds
suffer almost as bad as percussion instruments. the thinness of the
wind sound at 15-18" (ex. 1) is typical of lower quality compressed
audio, and at these resolutions the poor quality of the sound gives
the "fake" an unfair advantage. the omnipresence of mp3s and
compressed audio playback units would actually benefit the
development of "machine" performances, once the reference of the live
orchestra played on decent-quality recordings on passable systems
disappears (on an individual basis i mean).
Good point. I didn't say that the sound quality of the examples was
not high, but that was certainly a factor in what affected my
perception. I admit, I was almost fooled by the steely clarinet in
example 2, but that was just the player with a bright sound, and you
could hear the flanging from the compression in his sound, which would
have been a giveaway of a sample.
("crap sound" should be spoken with a glaswegian accent by the way, i
think it has more impact: "e's go'a crrap sound")
I hear you! I wonder if we are thinking of the same sound engineer...
Christopher
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