atomly <atomly@atomly.com> mused:
quoted 9 lines [chthonic streams <chthonic@chthonicstreams.com>]>[chthonic streams <chthonic@chthonicstreams.com>]
>> not my ipod, a coworker's. i have no intention of buying such a
>> player. i like CDs. i like the physicality of them. i like
>> artwork. and although i listen to CDs on my G4 at work, there's a
>> difference between itunes and a home stereo or discman.
>
>It's funny, then, that this has now come full circle. This used to be
>the argument for vinyl versus CD-- more physical and visceral, bigger
>artwork, more personal, warmer sound, etc...
i was thinking that myself as i replied. the main problems with
vinyl are its bulkiness and the whole physical
needle-wearing-down-grooves issue. true, it has created a whole host
of exciting sounds used in music based on crackly records or hip-hop
scratching. but as i know from talking to mastering engineers, it's
hard to get as much dynamic and frequency range on vinyl. so i only
buy vinyl if there's no other form of the release, and/or if it has
some special quality (picture disc, lush packaging). i also have a
turntable with a SPDIF out, so i can transfer my vinyl to computer,
clean it up, and burn a CD. but that is only if i have no other
choice. i would prefer to have the music in the format the artist
intended for release, with all information (even if it's a
blank-looking cover, that says something too).
CDs are a sensible middle ground between earlier formats and mp3s on
issues of portability and artwork/info, and still (IMO) superior in
sound.
also, remember that when the initial complaints about CDs were made,
the recording and mastering technology was nowhere near what it is
today. nor was the experience of recording and mastering engineers.
many CDs were simply transfers from 2-inch tape, and ended up
sounding harsh and noisy by comparison to the vinyl versions they
were originally destined for.
one could argue the same about mp3 encoders and players i suppose.
the difference, and the difficulty, is that encoding rates and
methods are at the mercy of the end user, or maybe the seller in the
case of online pay-for-download sites. this can only be overcome if
1) an acceptable, AIFF-quality worldwide standard is established and
adhered to, and 2) artists and engineers start mixing and mastering
"for mp3". i would rather hear more work on higher-quality formats
(and work towards making them affordable), or improvements on the
ones we already have.
d.
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