He should stick to moviesDavid Leonard, immersive mix engineer.
He should stick to moviesDavid Leonard, immersive mix engineer.
Coincidentally, Perp, there WAS a 1973 flick with a young Al Pacino called SCARECROW! But it was MONO!He should stick to movies
Do you know why vinyl sounds the way it does?The final decision I made in September of 2021 to purchase a turntable and spin vinyl again was one of the best choices I made and should have done it a long time ago. For decades, I missed that connection with music. To me, digital music can be good but a lot of it sounds flat and doesn’t compare to a well mastered vinyl album. When comparing a CD and vinyl, the soundstage is more 3-dimensional with the latter. Whereas, the CD sounds flat and less involving.
I avoid purchases from the juggernaut Amazon whenever possible.
I raised the volume on the back speakers which improved the sound very much and revealed the discrete moments which are well done i thinkThe Atmos mix of Scarecrow is definitely not an upmix from stereo, there are some discrete elements such as the backing vocals in the front heights during "Rain On The Scarecrow" and mandolin in the sides throughout the acoustic version of "Small Town".
I’ve read that before but don’t know what your getting at? Please, explain.Do you know why vinyl sounds the way it does?
Here's just part of the reasons,
https://www.gottagrooverecords.com/vinyl-mastering/
In short, those attributes of the sound on vinyl you find pleasing are the result of distortions of the source material. Your not hearing what the artists and engineers intended, your hearing many other alterations of what went on the master tape. There are quite a few more like wow & flutter, surface noise, speed irregularities, etc, etc.I’ve read that before but don’t know what your getting at? Please, explain.
In short, those attributes of the sound on vinyl you find pleasing are the result of distortions of the source material. Your not hearing what the artists and engineers intended, your hearing many other alterations of what went on the master tape. There are quite a few more like wow & flutter, surface noise, speed irregularities, etc, etc.
I'm not attacking your preferences, just making you aware that digital offers a many times more accurate presentation of the master tape and the artists intentions.
SHF 101. It's the mix and mastering that is most important, not the format.It has to be on a case by case basis; there are some albums that are ONLY remastered on vinyl and one may prefer the remastering if it's done right vs. the clipped, brickwalled mess that was the CD if done wrong.
In both cases, not the format's fault but those responsible for the mastering.
I helped with QC on the 20th anniversary of Dave Matthews Band's Crash - the original album (1996) was recorded by Steve Lillywhite all analogue and also mixed analogue to a stereo analogue master. The CD has copious amounts of clipping, mastered by Ted Jensen so not much of a surprise there, and it had never seen a vinyl pressing. For the 20th we sent the original analogue stereo master to Chris Bellman at BGM and he mastered and cut the 20th anniversary edition in an all analogue chain leaving buckets of dynamics of the original recording intact. It absolutely smokes the CD because of the mastering. There is no digital version of this mastering, so you can either prefer the "many times more accurate presentation" of the original mastering OR you can enjoy the far superior mastering delivered on vinyl with all its distortions (I didn't note any in my test pressings) and speed irregularities (also didn't note any).
Given management and the artist signed off on the cuts that would eventually be in the release, and it was also championed on Twitter by Steve Lillywhite after getting his copy (stating "finally you can hear the hi-hat how it sounded in the studio without all that clipping"), I know which one I recommend to folk.
It is embarrassing to get into a discussion with someone who has no idea what they're talking about (not you) and claims that most vinyl is separately mastered, when the exact opposite is true. However there are instances that have been discussed even here like Sgt Peppers where only the vinyl received the non-peak limited master.
I love all my media and enjoy being format-agnostic (for formats widely supported). I'll go where the mastering is best.
It has to be on a case by case basis; there are some albums that are ONLY remastered on vinyl and one may prefer the remastering if it's done right vs. the clipped, brickwalled mess that was the CD if done wrong.
In both cases, not the format's fault but those responsible for the mastering.
I helped with QC on the 20th anniversary of Dave Matthews Band's Crash - the original album (1996) was recorded by Steve Lillywhite all analogue and also mixed analogue to a stereo analogue master. The CD has copious amounts of clipping, mastered by Ted Jensen so not much of a surprise there, and it had never seen a vinyl pressing. For the 20th we sent the original analogue stereo master to Chris Bellman at BGM and he mastered and cut the 20th anniversary edition in an all analogue chain leaving buckets of dynamics of the original recording intact. It absolutely smokes the CD because of the mastering. There is no digital version of this mastering, so you can either prefer the "many times more accurate presentation" of the original mastering OR you can enjoy the far superior mastering delivered on vinyl with all its distortions (I didn't note any in my test pressings) and speed irregularities (also didn't note any).
Given management and the artist signed off on the cuts that would eventually be in the release, and it was also championed on Twitter by Steve Lillywhite after getting his copy (stating "finally you can hear the hi-hat how it sounded in the studio without all that clipping"), I know which one I recommend to folk.
It is embarrassing to get into a discussion with someone who has no idea what they're talking about (not you) and claims that most vinyl is separately mastered, when the exact opposite is true. However there are instances that have been discussed even here like Sgt Peppers where only the vinyl received the non-peak limited master.
I love all my media and enjoy being format-agnostic (for formats widely supported). I'll go where the mastering is best.
I got your back, Perp. I'm keeping mine....I returned my box set today via Amazon. I’m sure Sal will be happy I never touched the vinyl.
I have a 5.1 Set up using aAs I understand it, yes. I have a handful of Atmos discs that sound reasonable in 5.1. I intend to have Atmos capability in my room eventually, so I’m buying discs with those signals, but so far I can’t decode them.
As I understand it, yes. I have a handful of Atmos discs that sound reasonable in 5.1. I intend to have Atmos capability in my room eventually, so I’m buying discs with those signals, but so far I can’t decode them.
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