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
> Marcos Sueiro Bal
> Masterdisk
> [log in to unmask]
> 718.902.7441
> 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.
>>> _ storyId=122114058&sc=nl&cc=mn-
>>> 20100102_
>>> ( storyId=122114058&sc=nl&cc=mn-20100102)
>>> Steve Ramm