Over the months, I’ve put up posts important of magazine articles (like this one) but I have to say that the November challenge of Stereophile was a “spectacular” learn. I just wanted to convey up a few notable articles that I discovered interesting however highly misguided. I discovered these articles disturbing as a result of them perpetuate the established order or express an opinion that lacks constructive merit and I believe finally do a disservice to advancing the audio interest. First, I believe it’s worthy asking ourselves, what’s the “mission” of the audiophile publications?

I appeared around but was not able to find a page describing a “mission statement” for Stereophile. I’m sure the aim must embody informing and educating the readership around new products. Reviewing albums to contemplate. Cover commerce reveals to let us in on what’s “across the nook”. The target measurements embedded in the opinions which I have commented on previously are helpful. But on the end of the day, is there a fundamental mission assertion?

You know one thing catchy like “the waging of conflict against the tyranny of inferior audio” (Audio Task Force) as quoted within the latest NY Audio Show report. Considering that audiophile magazines are “for profit” corporations, I believe it’s all the more worthy of consideration; especially as of late where advertisements and the relationship the magazines make with the trade have probably turned out to be the principle source of revenue. Steve Guttenberg’s “As We See It” article titled Communication Breakdown touches on the supposed ills of dynamic range compression (see Loudness War). I assume it is okay then simply accept compressed and distorted music (including many jazz and soundtracks nowadays).

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Well Steve – hell no. You’ve realized to tolerate the grit and benefit from the music – I’m blissful for you. You significantly do not assume that almost all of us have clutched “to our chests our 180gm LP’s of Dark Side Of The Moon and Aja and rejected all the new music” do you? I mean, critically, the Loudness War has been raging for the reason that mid-1990’s and that I doubt many of us music lovers have not been capable of exploring “new” albums and bands for the last 20 years – a full technology! Discuss resurrecting and perpetuating a ridiculous straw man stereotype of the “old audiophile” (hilarious that the magazine front cowl comprises the artwork for Gaucho).

Do you significantly think that many people haven’t moved on from Dark Side or Aja? The issue will not be that we’re not “used to it”, the issue is many people are sick of it as a result of we all know it could actually sound higher. Through the years, we now have had tantalizing tastes of what good mastering might sound like with new music. Remember the “Unmastered” mix of Red Hot Chili Peppers’ Californication (DR10 vs. How concerning the Guitar Heroes III rip of Death Magnetic (DR12 vs. Recently I was discussing with some people concerning the Canadian Promo of Beck’s Mutations (DR11 vs.

Now before I get labeled as some form of “distortion hater” for rock and pop, certainly I am not. I accept an artist’s resolution to add distortion, noise, Protools plug-ins of all sorts; heck, Autotune is ok (better than raw talentless singing in some instances). Some albums are ‘lo-fi’ by design, I get it though it isn’t the form of music I favor.

But actually this doesn’t mean we need to endure digital clipping distortions and flattening of dynamic depth throughout virtually all genres, does it? When it clearly gets so unhealthy that on an excessive-finish sound system, the terrible distortions develop into so apparent, are we to simply tolerate it and never complain? If all recordings sound poor, why even trouble with expensive gear in any respect?

New artists (and producers who make their music) needs to grasp that a poor sounding recording damages the credibility of the artist in the eyes of many. And there really are restricted alternatives to make a great first impression. Audiophiles may be a small part of the music listening public, but we can be quite vocal in “spreading the phrase” amongst household and mates, and that I guess we purchase more music than the vast majority of music listeners.