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In Reply to: RE: Old-school, and the quest for musical nirvana posted by Todd Krieger on April 24, 2016 at 20:34:39
... Recordings made in the last 10-15 years are more likely to be better than anything made earlier. Perhaps Auto-Tune or other processing technologies are used less in case of classical.
Almost all my listening is to lossless computer files, (FLAC or ALAC and a few Monkey), via Foobar2000 using WASAPI. I usually use the Electri-Q equalizer which is highly, (to my ear, perfectly), transparent.
I started my hifi hobby with home-built Dynaco solid state components. Maybe my feelings would be different had I choose Dynaco's tube components instead.
Speaking of old solid state, the Phase Linear 400 I used for over 20 years was possibly the most unmusical piece of equipment I ever owned.
I love the music of Dmitri Shostakovich ...
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The classical catalog is probably the best place to go for *natural* sounding recordings. Un-amplified acoustic instruments provide us with hard references for what "good sound" actually is.Fantastic and *unnatural* sounds are often the mainstay of the pop catalog and are often difficult or impossible to judge by naturalistic standards as they sometimes contain mere traces of naturalistic tone, timbre, and texture (just enough to be recognizable as music made by humans in an earthly atmosphere, at times), and as they become a sort of reference unto themselves, sound-wise. The hifi enthusiast is left guessing about exactly what it is that constitutes "hifi" with some types of pop recordings. Reproducing pop music engages the imagination and the resources of the hifi enthusiast differently than naturalistic classical recordings do.
I find that both types of recordings can be equally *good*, as recordings go, but in different ways and for different reasons.
Edits: 04/25/16
Yeah - like, not at all! ;-)
Actually, I'm speaking only of AutoTune. Certainly, I've never heard a classical recording which has used Auto-Tune.
I'm hearing it more with classical...... Acoustic jazz too...... The depressing part is I'm hearing it applied to classic singers on remasters..... It's as if the recording producers/engineers think nobody will notice, but it's blatantly noticeable.
Just another digital conundrum.
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