Again in the 60s, when I initially got fascinated in audio gear, house audio methods that ended up viewed as to be “hi-fi” (substantial fidelity) commonly had complete distortion values of about .1%. This was regarded as to be an inaudible amount, specifically in the light-weight of investigation demonstrating that distortion experienced to rise to practically 1% right before most persons would commence to observe it. So .1% distortion sounded “perfect.”
Inspite of this, advancements in electronic parts and circuitry brought ever-lowering distortion specs of .01%, .005%, .001%, and so on. Whilst no person would complain about improved specs, we ended up really clearly earlier the position exactly where any ordinary man or woman could detect the success of nonetheless additional advancement in the seem. It didn’t get “much more fantastic.”
It appears to be to me that something like this has occurred to modern day recording, even on a pastime level. Digital recording and processing gives us a 90 dB dynamic vary. We history our tracks at 24 bits with a 96 kHz sampling fee. The frequency response is nearly infinite. And the distortion? Jeez, it have to be down to .0000001% by now! Every little thing sounds fantastic.
Then what do persons do with our correctly recorded tunes? They down load them as mp3 data files and listen with earbuds. They play the CD in the car or truck although driving and talking to good friends. They pay attention on the computer system. They listen while they run on a treadmill. What they never do is sit quietly and listen to the music on a “hello-fi” procedure though thinking “My goodness, this tune has very minimal distortion.”
Even if the listener does detect how great it seems, they may well not like it that way! I bear in mind the initially time I heard a extensive-treasured Seashore Boys album as a “remastered CD” as an alternative of a report. It was pristine and crystalline, established against a black-velvet backdrop of silence. Just about every voice was obvious and divided from all the many others. The guitars shimmered and shone. It was dreadful.
The problem was that it was “too excellent.” Somewhere in the system of having turned into 1s and 0s, all the magic had gone out of the songs, leaving it lifeless. Possibly it was the isolation of the voices (they are supposed to mix, it’s the freakin’ Seaside Boys), probably it was the weird immediacy of the audio (they are not meant to be here in the home), or who knows, it’s possible the tremendous-low distortion was to blame!
I had read through that CD mastering engineers from time to time purposely inject hiss, manipulate the over-all EQ, or (indeed) increase the distortion for certain sorts of new music to make the remaining solution seem far more “true” and less sterile. Soon after my Beach Boys expertise, I can see why.
Lighten Up and Fly Right
Alright, wonderful rant. But what does this have to do with my recordings right now, in the 21st century? Don’t get me completely wrong in this article. I am not telling you to not attempt for perfection, to not make your recordings seem as good as you can make them sound. I am merely suggesting that there is no need to have to obsess above unhearable sound-good quality troubles at the price of attention not paid to the true music.
I will occasionally read through a poster on a recording forum complaining about having to drop from 24bit@96kHz all the way to 16little firstname.lastname@example.orgHz recording (so the computer can tackle all ten plug-ins he is using), as if these kinds of a “lo-fi” recording is barely truly worth making and will most likely appear out sounding like 1 of Edison’s first cylinders. “It’s 24/96 or absolutely nothing for me.”
Balderdash! The lowest resolutions and sampling fees offered on present day machines can give (practically) CD-excellent seem that will audio excellent to all people. The quality of the tune, the overall performance, the mixing, the mastering – all of these are significantly much more significant things than excellent vs. hyper-best digital configurations.
So my normal (cheap) advice is, lighten up! Don’t be fooled by those ever-decrease distortion specs. Fire up that Radio Shack stomp box and put some hiss in your subsequent rock-n-roll blend. Permit the meters go into the pink from time to time. You should not get worried about a tiny leakage concerning mikes. And come to feel free to document at 16/44.1 all the time. You don’t want your song to conclusion up sounding “excellent,” do you?