On Tue, 2006-03-14 at 21:22 -0700, Scott Paul Robertson wrote:
> [1] Notice can be taken to mean that with classical, about -q 9 on
> ogg's, and about -q 6 for 'modern' music, is where I stop noticing.

Agreed.  Modern recordings *suck* for technical reasons.  Sound
engineers have decided that it is cool to have a much louder-sounding
recording[1].  Put on a record from the 70's (as in LP) and watch your
little db meter.  It will peak at 70% of the scale (not sure what that
is maybe 0 db?).  Put in a modern CD (say coldplay) and you'll find that
90% of the time the db meter is maxed out.  

So basically we have a medium (CD audio) that's actually quite capable
of storing a very high-fidelity and wide amplitude range of sounds and
sound engineers compress all our music to fit just into the highest 20%
of the amplitude range.  This means that instead of using 20 bits to
represent the amplitude, we're getting maybe 6 bits of real variance.
This really lowers modern CD audio quality dramatically.  This is a real
shame.  But the good news is that when you encode into lossy codecs,
there's so much noise and distortion there already that you don't even
know that most of the underlying harmonics are stripped out because you
can't hear them anyway.  But take a good, clean classical recording and
encode that with a lossy codec and suddenly you become very aware of
artifacts.  The classical recordings are recorded with a much greater
range of amplitudes and typically don't have as much compression[2].

Anyway I found the first link I give here to be a real eye-opener.  I
have a wonderful CD that's by Scorpions and the Berlin Philharmonic
orchestra that's full of great music but it's recorded as such a high
level that I can't hardly even hear the orchestral sections because they
are distorted right out by the singer and the electric guitars.  Very
sad.

Michael


[1] http://georgegraham.com/compress.html -- must read for anyone
interested in sound recording and music production
[2] http://sound.westhost.com/compression.htm

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