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The_K-Man

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About The_K-Man

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  1. Actually, that is a real variant of big, if somewhat obscure. Just not in heavy usage.
  2. You might be used to more commercial-style stuff where the volume can be set between 10-20 out of 100, and paint still peels from the walls and the windows shatter.
  3. That conversation between Simon and her producer took place in the mid-80s, well after most of my favorite part of her catalog came out - the '70s, when her stuff sounded good. Z100 alone changed the sound of CHR radio forever, and to a degree, influenced the sound of recorded product.
  4. That album was considered the 'first shot fired' in the digital-era loudness war. Yes, it used DRC primarily as a means to make the songs as loud as possible, rather than just to glue the individual elephants I mean elements! together. A little later on, increasing amounts of peak-limiting were combined with that DRC to get subsequent artist' albums even louder. Albums on CD finally sounded the way - Carly Simon once told her producer how she wanted her next(1986?) album to sound - like they did on WHTZ 100FM in New York! Then the major labels realized they had a problem with their legacy(pre-1990s-pre-Loudness) catalog... ..CD issues from before then were suddenly 'not loud enough'(compared to 'What's The Story, etc.) in the 'iPods' of that decade: domestic and car CD changers! And consumers were complaining. And so began the most aggressive round of 'remastering' in recorded music history, with compressed or brickwall-limited CD reissues of everything from ABBA to ZZ Top. Packaged in fancy gold- or platinum-trimmed CD cases with "DIGITALLY REMASTERED for SUPERIOR SOUND" printed on the jackets. I've even had a few mastering engineers - on GearSlutz and Head-Fi, proclaim that those earlier original CD issues "weren't properly/ professionally" mastered: That is, not hyper-compressed and/or brickwall limited all to schitt! 🤦‍♂️ That last part describes what is considered 'mastering', at least in the modern popular(CHR, Hip-Hop, Country) genres, nowadays.
  5. Remastering is not just about dynamics & loudness. Changes in frequency resp/EQ, stereo image or depth also count as remastering. Any audible change, for that matter, is remastering.
  6. So in a very real sense, you are, by virtue of changing encoding parameters on these examples, remastering them! I'll pass. My Rumours CD, and mp3s from it, will do just fine.
  7. sandyk WTH is your problem with just about every example linked to recently in this conversation?? I see a red crossed circle from you after each one! Explain.
  8. Analog or digital format doesn't matter: Damage can be inflicted in both.
  9. Your comment brings to mind this, buggle gum pop for sure, but in my opionion relatively crankable, for a modern hit!...
  10. DId you encode at minimum 256kbs? Because this old crow for sure cannot hear a difference at or above 192kb mp3, for that matter.
  11. I'm aware of Ogg Vorbis, can convert to it, but do not have playback support. Have you ventured into it?
  12. Just remember guys: MP3 does not affect dynamic range - compressors or limiters in mixing and mastering rooms do.
  13. Well, what you stated about Rumours came off as coming from someone born decades after that album released. I guess for eight years your junior I have relatively 'old' tastes. Or perhaps I just have tastes - period.
  14. The reason LPs display "vastly better" dynamics is simple: Because their digital counterparts have suffered from artists and labels desire for LOUDNESS over liveliness. You can't have have both, although you can have varying degrees of both, depending on what serves the song/album. Thus, digital formats such as CD are unable to fully showcase their potential for accommodating dynamic material - and ignorant consumers - including audiophiles - blame the format! 🤦‍♂️🤦‍♂️🤦‍♂️🤦‍♂️
  15. I'm not sure what all that means, but, whatever.
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