Anyone read "Perfecting Sound Forever".
Posted by: BigH47 on 04 November 2010
By Greg Milner.
I have finally managed to finish this book. Wonderful things deadlines,(woosh woosh) as I'd run out of re-newalls at the library.
It seems amazing that even from day one developers of whatever recording system, could persuade the listening public of their ability to produce "like being there" recordings.
Can you really imagine NOT being able to hear a "nail" rushing over wax or shellac?
Personally the later "loudness" wars and "pro tooled" recordings, chapters were very interesting.
It is such a shame that many will never hear proper "warts and all" type recording, only "perfect and to the wall" adjusted,compressed and loud being the only thing being allowed by the big companies.
In the end perhaps people get what they deserve for not speaking out enough.
Posted on: 04 November 2010 by Mike Hughes
Have mentioned it on here a few times as have others. Thought it was a great book but there's a better one to be written. His bias toward vinyl was fine but poorly justified yet elsewhere he makes good points like pointing out that the loudness wars started from an analogue technology - compression. Then he fails to address the fact that via TV, radio, car radios etc compresed music us actually all most people know so there are in fact questions to be asked about the loudness wars and so on. Great read though.
Posted on: 04 November 2010 by BigH47
I knew a few others had read the book I thought it might fun to pick up on some of the points.
He does say the Radio stations started to compress and limit boost etc, and then the CD manufacturers wanted the CDs to sound like that without the radio!
Certainly companders (compressor/expanders) were used in the vinyl age, especially on film soundtracks, you could hear the hiss going up and down as they kicked in and out.
He's not alone in his bias to vinyl, all I'll say is that regardless of what sort of bits you have ,I get more music from some vinyls albums.
I think it's that "presence" that many in the book say is missing (even the most adamant all digital domain guys).
Posted on: 05 November 2010 by Mike Hughes
Yeah, it was the presence bit I struggled with. I'm a cd man through necessity and I enjoy it but recognise vinyl offers something. I just feel that at this stage we should be able to articulate that something with a bit more precision than "presence" e.g. he talks about how much of it was quantified as turntable rumble but then just kinda stops and expects us to go with "but hey, vinyl has a certain magic so who cares", which is poor really. No problem with anyone making the case for vinyl over cd but make the case don't just say it is and wax lyrical about the magic.
Very thought provoking on the concept of sound reporoduction I thought. Very well articulated.
Mike
Posted on: 06 November 2010 by BigH47
As you say Mike I think the main objective, with which succeeds is a pretty informative explanation of the process of recording techniques etc.
Presence is I guess is a bit like burn in, cable differences, dedicated mains, vinyl/CD.
Posted on: 06 November 2010 by js
Here's a story you may like. Ken went to do the 'The Capitol Sessions' recording at the arranged venue. Capitol Studios in CA. When he arrived the assistant engineer asked what boards, booths and equipment would be required. Ken simply asked where the most convenient wall outlet for the selected space was located and sent him on his way. Everything he needed besides furniture and possibly a mic stand was in his carry on.
