Is this guy for real?

With the advent of the Internet and ease of distribution, there has been an explosion of new artists and music. I discover new music constantly. Then again I love modern music. If you are a fan of classics then by definition all that exists, is old.

This I can agree with. While I love much of my adolescent classic rock, and string quartets before I was born, I have no problem finding current music I also love.
 
I'm with Mike...most of the best music was recorded long ago....I find most stuff nowadays crap in comparison....fitting for the millenial generation.
There is no way I would stay interested in this hobby if I just had to listen to the SOS I grew up with. I am always looking for new artists.
 
With the advent of the Internet and ease of distribution, there has been an explosion of new artists and music. I discover new music constantly. Then again I love modern music. If you are a fan of classics then by definition all that exists, is old.
Don't bother amir...:eek:
 
I'm with Mike...most of the best music was recorded long ago....I find most stuff nowadays crap in comparison....fitting for the millenial generation.
I can tell that you are no musician with an opinion like that, LOL. IMHO, ALL ( YES ALL) music is music to my ears. I may appreciate some slightly more than others, BUT if it has a beat, I'm all in. I LOVE classical, I LOVE Rock, I LOVE Blues, I LOVE Reggae, I LOVE Jazz, I LOVE RAP, I LOVE Country.....
It's all good.:cool:
 
Crap? What an utterly dismissive attitude. Open your ears.

with all due respect, spare me......

finding current music mostly not interesting is different than rejecting current music just cuz. I keep trying, but keep not connecting. you are misreading what we are saying.

the problem as I see it is just how great the whole package of the golden age music generally is; it's quality as music, the talent writing and playing it, the care recording it, and the format it was recorded in. if I was primarily digital focused I might have a different perspective. but I'm not.
 
with all due respect, spare me......

finding current music mostly not interesting is different than rejecting current music just cuz. I keep trying, but keep not connecting. you are misreading what we are saying.

the problem as I see it is just how great the whole package of the golden age music generally is; it's quality as music, the talent writing and playing it, the care recording it, and the format it was recorded in. if I was primarily digital focused I might have a different perspective. but I'm not.

I totally understand your position and I absolutely see your point.

My comment was not specifically aimed at you as you do not seem to have a dismissive attitude, just uninterested. Two different positions.

No one in their right mind would deny the glories of the golden age of recording, but that does not diminish the supremely talented artists of today.
 
with all due respect, spare me......

finding current music mostly not interesting is different than rejecting current music just cuz. I keep trying, but keep not connecting. you are misreading what we are saying.

the problem as I see it is just how great the whole package of the golden age music generally is; it's quality as music, the talent writing and playing it, the care recording it, and the format it was recorded in. if I was primarily digital focused I might have a different perspective. but I'm not.

Mike, I'm curious...what do you consider as "current music"?? Your definition please...
 
I went with Winston to Japan a few years ago to record the Yamamoto Trio - "A Wonderful Trio". The studio, Audio Haus, is state of the art. We spent two days recording this album and with Winston trying to cover all bases, captured in 24/192 on a PT rig, 1/4" tape on an ATR 102, DXD on my Pyramix rig and DSD using a Tascam DV-RA1000HD using the EMM Labs ADC8 IV as the converter.
The drums and upright bass were segregated into iso rooms with visual of the pianist in the big room. I could easily walk into the rooms where the were and then walk into the control room and listen on the big monitors. All mic feeds were going into an SSL 9K with minimal EQ.
I could monitor on my headphones at the time for my DSD and DXD rigs.
To me, I felt the DXD was indistinguishable from the room sound, but preferred the DSD recording because it sounded like a Trio playing instead of 3 different people in 3 different rooms. The PCM just sounded a little unnatural to me. The PT recording was even worse. The tape we felt was a little dark, not enough sparkle.
I've done this experiment as many times as I can. Now with the new Horus, DSD as I remember is even better. I really wish we had the choice of tape machine and tape that day. I'm sure it would have been a completely different story!
 
I went with Winston to Japan a few years ago to record the Yamamoto Trio - "A Wonderful Trio". The studio, Audio Haus, is state of the art. We spent two days recording this album and with Winston trying to cover all bases, captured in 24/192 on a PT rig, 1/4" tape on an ATR 102, DXD on my Pyramix rig and DSD using a Tascam DV-RA1000HD using the EMM Labs ADC8 IV as the converter.
The drums and upright bass were segregated into iso rooms with visual of the pianist in the big room. I could easily walk into the rooms where the were and then walk into the control room and listen on the big monitors. All mic feeds were going into an SSL 9K with minimal EQ.
I could monitor on my headphones at the time for my DSD and DXD rigs.
To me, I felt the DXD was indistinguishable from the room sound, but preferred the DSD recording because it sounded like a Trio playing instead of 3 different people in 3 different rooms. The PCM just sounded a little unnatural to me. The PT recording was even worse. The tape we felt was a little dark, not enough sparkle.
I've done this experiment as many times as I can. Now with the new Horus, DSD as I remember is even better. I really wish we had the choice of tape machine and tape that day. I'm sure it would have been a completely different story!

Wow Bruce, great story!
 
I went with Winston to Japan a few years ago to record the Yamamoto Trio - "A Wonderful Trio". The studio, Audio Haus, is state of the art. We spent two days recording this album and with Winston trying to cover all bases, captured in 24/192 on a PT rig, 1/4" tape on an ATR 102, DXD on my Pyramix rig and DSD using a Tascam DV-RA1000HD using the EMM Labs ADC8 IV as the converter.
The drums and upright bass were segregated into iso rooms with visual of the pianist in the big room. I could easily walk into the rooms where the were and then walk into the control room and listen on the big monitors. All mic feeds were going into an SSL 9K with minimal EQ.
I could monitor on my headphones at the time for my DSD and DXD rigs.
To me, I felt the DXD was indistinguishable from the room sound, but preferred the DSD recording because it sounded like a Trio playing instead of 3 different people in 3 different rooms. The PCM just sounded a little unnatural to me. The PT recording was even worse. The tape we felt was a little dark, not enough sparkle.
I've done this experiment as many times as I can. Now with the new Horus, DSD as I remember is even better. I really wish we had the choice of tape machine and tape that day. I'm sure it would have been a completely different story!

So one format sounded like the room sound, or the sound of 3 people in 3 rooms (which it was). One sounded like a trio playing (which it wasn't). So you had a preference for a style of sound rather than the real sound. Okay, that is fine, enjoyable music is the purpose. Oh, and you didn't like a plugin, meant to sound like tape (which according to some isn't high fidelity anyway). Yet you are sure with a real tape machine and tape it would have been different. NOTE: as DXD is PCM, the comment about unnatural PCM didn't really seem like much.

But I understand, Viva La TAPE ...............somehow..........................!
 
Mike, I'm curious...what do you consider as "current music"?? Your definition please...

I spent 20 minutes replying and then hit the wrong button and 'poof' there it went. it's late, I'm tired. I will try to revisit your question tomorrow and give it a proper answer.

sorry.
 
So one format sounded like the room sound, or the sound of 3 people in 3 rooms (which it was). One sounded like a trio playing (which it wasn't). So you had a preference for a style of sound rather than the real sound. Okay, that is fine, enjoyable music is the purpose. Oh, and you didn't like a plugin, meant to sound like tape (which according to some isn't high fidelity anyway). Yet you are sure with a real tape machine and tape it would have been different. NOTE: as DXD is PCM, the comment about unnatural PCM didn't really seem like much.

But I understand, Viva La TAPE ...............somehow..........................!

No plug-in. They used a real ATR 102.
Yes, DXD is PCM at 24/352.8kHz. It's just easier typing "DXD" on an iPhone.
The DXD allowed you to hear 3 different with 3 different room tones. The DSD just kinda' gelled everything together and making it sound like a cohesive Trio that needed no post processing.
 
I went with Winston to Japan a few years ago to record the Yamamoto Trio - "A Wonderful Trio". I really wish we had the choice of tape machine and tape that day. I'm sure it would have been a completely different story!

That's a good-sounding CD, Bruce...I still have the copy you gave me. What tape stock were you using?
 
Mike, I'm curious...what do you consider as "current music"?? Your definition please...

My apologies for jumping in, but that is a good question. Everything is relevant. Ten years is what I think is new.
 
No plug-in. They used a real ATR 102.
Yes, DXD is PCM at 24/352.8kHz. It's just easier typing "DXD" on an iPhone.
The DXD allowed you to hear 3 different with 3 different room tones. The DSD just kinda' gelled everything together and making it sound like a cohesive Trio that needed no post processing.

Thus, for you it was an aesthetic appreciation at the end. Not of accuracy... I am OK with that.
 

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