Many of my favorite 60s pop and soundtrack recordings, while often well produced (relatively low noise and distortion) were then often slammed with lots of compression in the mastering room. Presumably, record labels insisted on this to prevent overloads on AM radio, but perhaps even more so to make them playable on cheap vinyl players, or even the SOTA turntables of the day.
My situation is that I want to build my friend Pierre’s speakers; see posts 15,266, 15,276
https://www.diyaudio.com/community/t...00392/page-764
https://www.usspeaker.com/radian 745neoBepb-1.htm
https://audio-database.com/PIONEER-E...l-1601b-e.html
Being highly transparent (Pierre claims the are very comparable to the TAD speakers he heard at the Montreal audiofest last month), they will deliver all the best from my SACDs and my great recordings on CD.
But not surprisingly, when we played my compressed recordings-especially those which probably had compression applied globally post final mix rather than to individual tracks beforehand-they sounded mostly flat; no appreciable dynamic range. And some also sounded “congested” when the orchestrations would get busy.
Unfortunately the compression is “baked” into these recordings so the lost dynamics cannot be restored even with this software. https://www.izotope.com/en/shop/rx-10-advanced/
But might there be particular speakers (active or passive) with the right driver/horn combinations and voicing filters that would tend not to emphasize the audible effects of compression-even if they couldn't be played at anywhere near the sound pressure levels of the original studio event, and without audible distortion?
My situation is that I want to build my friend Pierre’s speakers; see posts 15,266, 15,276
https://www.diyaudio.com/community/t...00392/page-764
https://www.usspeaker.com/radian 745neoBepb-1.htm
https://audio-database.com/PIONEER-E...l-1601b-e.html
Being highly transparent (Pierre claims the are very comparable to the TAD speakers he heard at the Montreal audiofest last month), they will deliver all the best from my SACDs and my great recordings on CD.
But not surprisingly, when we played my compressed recordings-especially those which probably had compression applied globally post final mix rather than to individual tracks beforehand-they sounded mostly flat; no appreciable dynamic range. And some also sounded “congested” when the orchestrations would get busy.
Unfortunately the compression is “baked” into these recordings so the lost dynamics cannot be restored even with this software. https://www.izotope.com/en/shop/rx-10-advanced/
But might there be particular speakers (active or passive) with the right driver/horn combinations and voicing filters that would tend not to emphasize the audible effects of compression-even if they couldn't be played at anywhere near the sound pressure levels of the original studio event, and without audible distortion?