Quentin Harley wrote: > Ralf Mardorf wrote: >> Quentin Harley wrote: >>> PS: Have you noticed the volume level on your home sound system or >>> car radio lately? Mine is indexed from 0 to 48, though with recent >>> loud music I hardly ever set it above 8. >>> With dynamically mastered music, I set it to 28, and the experience >>> is just so much better than the bland wimpy loud masters of the others. >> >> When it's set to 8 the transistors might not reach the optimal bias >> point. Kids are listening on levels that cause hearing impairment. If >> you want to listen by less loudness, but full sound quality, you need >> to prepare your equipment. Sound becomes muddy when transistors are >> not working at optimized bias points, resp. saturation. Not the >> masterings are bad, it seems to be your equipment, for listening to >> popular music in a unpopular way. >> > So, is 90dBSP not loud enough to warm up my transistors? > > Come on Ralf...
I couldn't find a link to Katz's ebook, it's available by torrent, but I guess not legal, so I read one of the articles he wrote (and not somebody else). Fine, he is dissing the same people I diss :D and for me it's absolute unimportant in which way those people master their music, because I don't like their music. And to be honest, many people like especially the sound of those people, done by audio engineers that have a very good reputation. Klaus Dieter Keusgen (not one of those mentioned by Katz) played aloud some of his very commercial productions when I visited his studio and I hated and hate and will ever hate those productions and I told him that I don't like them, then he played loud some less commercial productions he made and I was fine with those productions. It's invalid that Katz is dissing people who do commercial stuff that should satisfy the consumer, while he does the same for other target groups, but with less success than some of the engineers he's dissing. For television and cinema I agree that a better standard is needed because of the loudness, but it's not only a problem of bad compression and bad headroom, also of unnatural frequencies. Btw. TV spots that are simply to loud only stress the consumer, this line of attack has only disadvantages for the companies. For films it's similar to music for me. I don't need to watch films were it's important that a train or even a blow with the fist sounds like a thermonuclear detonation. I'm free not to like films without substance, they won't become better with another audio mastering. It's very simple, watch films from England instead from Hollywood and Bollywood. Standards are not good for avant-garde music, the only exception for the K system Katz seems to know is heavy metal, I guess there is a lot of more music that won't be fine with a loudness standard. If you don't have a mastering listening room and very expensive equipment, it will be impossible to convert his standard (that isn't a standard and hopefully never will become a standard). If your listening room coast less than 500000.00 EUR or $ the better way might be to listen at different volumes while walking through the room, than to watch meters and use always the same volumes. There is no serious way to calibrate most equipment to the K system. And now to "So, is 90dBSP not loud enough to warm up my transistors?" How did you measure 90db (SP?)? If I listen to music in my flat, while the dual (unfortunately not triple) glass windows are closed and a average mainstream music listener from the Ruhrgebiet needs to stop his car at the 100 meters distant traffic light, I can't here the music I'm listening any more, because his music is too loud or my music too silent. Even if transistors are at optimal bias, what's with the the speakers? I'm using 20/25W speakers most of the times. Other speakers I use for some louder checks are 35/65W and my old defect speakers had 40/60W, the amp has got 30/?W, the RMS/max values are vague values ;). Different sources like grindcore and classic music have accents at different frequencies, so I need to optimize the volume to reach the optimal load for the speakers all the time. This can't be done by some volume settings by any K method. How should I do this? Anyway, I hope Bob Katz's book give hints how to work with frequencies and phases, independent to the musical liking and especially how to take care about this issues with equipment that doesn't cost 500000.00 EUR or $ or even much, much more. I'M SORRY, I DON'T KNOW A BOOK FOR HOME-RECORDING OR LESS EXPENSIVE PROFESSIONAL EQUIPMENT, BUT I GUESS THERE ARE SOME HOME-RECORDING BOOKS, THAT ARE THE BETTER CHOICE FOR HIPHOP, REGGAE, DUB, HARD ROCK, AVANT-GARDE. AND SOME PEOPLE MIGHT WANT TO MASTER MUSIC THE WAY MICHAEL JACKSON'S MUSIC IS MASTERED. I DON'T LIKE MICHAEL JACKSON, BUT A LOT OF PEOPLE DO AND FOR THIS MUSIC THE K SYSTEM IS TRASH, BAD, STUPID. The first question is "What music would you like to master?" The second question is "Are you able to mention any existing production that is near to the style you want to master your music?" And the third question is "What equipment do you have or how many money do you have to get equipment?" I guess for the way I master music, the K system would be fine for many styles of music I do (if I had the right equipment, room, equipment to adjust the equipment), but it also would be bad for many styles of music I do. And now my questions to Quentin and Daniel: What meters are fine? What Linux software meters are fine? Should someone who wish to master Jackson like music or thrashmetal or dub use the K system? What speakers are fine for the K system? I guess I don't need to ask for the amp, because this speakers probably will be active ones. > End of this discussion. We are not taking about the same thing here, > and you do not even attempt to understand what I am trying to say to you. You ignore facts. Cheers, Ralf _______________________________________________ 64studio-users mailing list [email protected] http://lists.64studio.com/mailman/listinfo/64studio-users
