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 turning.
> 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
>> 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.
>>> _http://www.npr.org/templates/story/story.php? storyId=122114058&sc=nl&cc=mn-
>>> (http://www.npr.org/templates/story/story.php? storyId=122114058&sc=nl&cc=mn-20100102)
>>> Steve Ramm