I don't think it has to do with sales but it has to do with airpaly and
getting noticed. I have cd's made in the 80's of CCR, Simon & Garfunkel,
el al. All of them are very quiet compared to today's rubish, yet people
buy them. People will buy good music, it's that simple.
Tom Fine wrote:
> Wow, that's bleak! But it might be true.
> Marcos, do you know something we don't, from your vantage point at a
> top mastering house? Did a record company weenie spill the beans in a
> booze-soaked mope at the holiday party?? ;)
> -- Tom Fine
> ----- Original Message ----- From: "Sueiro Bal Marcos"
> <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Saturday, January 02, 2010 5:50 PM
> Subject: Re: [ARSCLIST] The Loudness Wars - NPR story
>> Here is a cynical view of the matter:
>> I'd submit that there is no financial incentive to avoid dynamic
>> over- compression; in fact, it may help business, at least in the
>> short- term. To wit: if you purchase a fatiguing CD or MP3, your
>> brain may be soon telling you that you are essentially unsatisfied,
>> and may therefore go out and buy another piece of music. In other
>> words: it is not in the interest of record companies to have product
>> that consumers listen to again and again; they would rather have
>> you purchase new product constantly. I compare this to the food
>> industry's over-salty, over-sweet offerings. At first your
>> taste-buds are over-excited, but soon thereafter you are hungry
>> again and need more food. It has worked great as a business model for
>> fast food chains, although in that market the tide appears to be
>> Marcos Sueiro Bal
>> [log in to unmask]
>> On Jan 2, 2010, at 13:51, Tom Fine wrote:
>>> Hi Steve:
>>> THANKS for posting this link. I totally agree with Bob Ludwig that
>>> listener fatigue from this toothpasted garbage is a factor in
>>> declining music sales. This "make it louder" is a plague. You'd
>>> think that the higher-ups at the record companies would realize by
>>> now that their tin-eared underlings who lean on mastering engineers
>>> are WRONG and this stuff sounds TERRIBLE both in earbuds and
>>> especially over highly-process FM radio (see Bob Orban's white
>>> paper on why toothpaste-mastered material then processed by an
>>> Orban unit results in unlistenable garbage).
>>> The discussion of MP3 lossy encoding is interesting, too. The U-MN
>>> guy is just wrong about lossy being "indistinguishable," even at
>>> bitrates like 320kbps. I would submit that ANYONE with good hearing
>>> and decent playback equipment will be able to reliably tell the
>>> difference between un-lossy source and MP3 lossy encoding.
>>> All in all, these technologies (digital toothpasting and a
>>> profusion of lossy formats) have been a plague on recorded music.
>>> Fidelity does matter with almost all forms of music. It's an insult
>>> to the artists to consume their work in a junk format when a full-
>>> fidelity format is readily available.
>>> Of course many other factors have led to the implosion of the music
>>> business, but I strongly believe that the degradation of typical
>>> fidelity available to the consumer has helped the process along.
>>> -- Tom Fine
>>> ----- Original Message ----- From: "Steve Ramm" <[log in to unmask]>
>>> To: <[log in to unmask]>
>>> Sent: Saturday, January 02, 2010 12:37 PM
>>> Subject: [ARSCLIST] The Loudness Wars - NPR story
>>>> Thought others would enjoy hearing/reading.
>>>> Steve Ramm