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In Reply to: RE: Linn's take on MQA, "rentier capitalism". posted by jusbe on February 14, 2017 at 15:45:23
I think the problem is even worse than that.... Digitization has corrupted music as we once knew it, and such rehashing of "technology" only convolutes it further.....
People ask me why I still listen to "old fashioned CDs".... My answer is that although it's digitized, it's usually first-generation digitization. At a resolution not too high to fatigue the listener, nor too low to lose too much between the bits....
Another thing is that engineers don't realize that newfangled "technologies" further corrupt the music. It's as if they stopped listening and just believe the sales pitches associated with them. I mean, I'm hearing too many remastered recordings with garbled highs, strange artifacts, and Auto-Tune. (I then point out what I think is obvious, and people then get upset. It's like being upset over someone pointing out the Emperor is wearing no clothes.)
These new "technologies" make the music sound "different", but almost never better. (I think too many of us hear "different", and presume it's "better".) Each copy that goes further from the original session just loses more of the music.
I agree with the Linn article in most part.
I am convinced by the outcome that most of the people doing the mixing have no idea what live, unamplified music sounds like. All they know is electronic effects. It is very possible that this is what the public wants too. However, I think when people hear a good recording, they will know it. There just are not many examples in newer music.
I assume you guys are talking about Pop Music.
The latest ECM and SF Sym recordings are amazing.
I only read your post to confirm you'd mention Auto-Tune.
Tell me the name of ONE Jazz or Classical recording that uses it.
I've heard the Glyph-effect when it's on Max on Hip-Hop, but it's for the effect, not for tuning.
"Tell me the name of ONE Jazz or Classical recording that uses it."
Better linking to examples than just telling......
I'm not 100% sure if it was bernie grundman or Bob Katz but in an interview he said almost every file he gets for mastering is using Autotune. A lot of studios don't even tell the artist they are using it.
He was talking mainly about pop music. I here it all the time. There is a slight graniness on vocals. I bet on the recent terrible sounding Grammys autotune was used on all vocals
"A lot of studios don't even tell the artist they are using (Auto-Tune)."
They believe nobody will notice its use..... But I hear it in too many remastered recordings of classic albums/performers, let alone too many recent albums.
. . . years ago, I was accompanying a cellist for a recording (for her college admissions) at Fantasy Studios in Berkeley (they were also doing the mastering for an Indiana Jones soundtrack at that time), and I asked the engineer recording us if autotune was ever used in classical recordings. His answer was, not surprisingly, "No!".
"...I asked the engineer recording us if autotune was ever used in classical recordings. His answer was, not surprisingly, 'No!'"
He personally may have never done so, but to say it has never been done once in an entire industry is ignorantly presumptive. Not to mention patently wrong.
I never said that autotune was used on classical recordings
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