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Frame Of Reference: Choosing The Right Material For Critical Listening
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NOT CREATED EQUAL

Recordings should be the best quality possible, particularly in this era of iPods, iPhones and other MP3 players. If you’re ripping the songs yourself, use first-rate CDs or other original source material, as opposed to, say, the first-edition CD from 1985 that was cut from the LP masters and sounds terrible.

Instead, use a more recently re-mastered version, and set the conversion process to use the highest bit rate available.

Today we can readily choose AIFF, .WAV, and other lossless formats. So what if they’re larger files? Do we really need 10,000 songs in our pocket? How about a couple dozen really good ones that are well recorded and properly ripped?

One of the reasons I loved that Jennifer Warnes recording was that it sounded flat-out amazing for its day. Another cut on that album, “Bird on a Wire,” has great drums, too. Between those two songs, I often got a pretty good idea of the condition of the system and the state of the room.

Another superb track is Patricia Barber’s “Modern Cool” recorded by Jim Anderson. Check this one out for sure – super clear voice, sublime piano, upright bass to please upright bass players, and incredibly realistic drums. It’s not a pop/rock record, though, and you probably need some of that genre in your collection.

However, be picky – not all pop/rock records are created equal. You may not like Lady Gaga as an artist, but the production values of many of her recordings are pretty amazing. Check out “Bloody Mary” from the Born This Way album, if you haven’t already.

The bottom line is that most of what we hear today on the radio, at shows, on our personal music players and in our cars is far from ideal. Low bit rates, second-rate recordings, and shows that are too loud and too distorted all work to undermine our frame of reference. I’ve said it before but it bears repeating: listen to live acoustic music and then find some recordings that sound like that.

At the same time, I’m not at all opposed to creating new sounds in the studio or on the stage that never existed before. Just do so with fidelity and integrity.

CERTAIN ASPECTS

Finally, try to avoid tracks that you don’t care for, no matter how amazing they might sound and/or how many others like them. I have my personal collection of favorites for this purpose, and you should have yours.

This gets back to the thing about short passages that get repeated over and over during the course of critical listening and system tuning. By doing so, we can really start to pick out how certain aspects of the sound change when the parameters of the system change. And if you like the tracks, this process won’t drive you quite as crazy.

On one night, in a hall, the acoustics may aggravate a certain harshness in the cymbals on the recording, while on the next night, outside, the addition of a high shelf might be needed to bring those same highs back in.

As we get increasingly familiar with a select group of high-quality passages, we get increasingly better at hearing these changes and knowing what kinds of subtle adjustments should be made to provide a consistent sound to the audience.

Karl Winkler is director of business development at Lectrosonics and has worked in professional audio for more than 15 years.


Source: Live Sound International

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