I'm catching up on a week's worth of digests, so bear
with me for weighing in late.  

Larry had stated that it was his belief that most
people cannot hear the differences in sound, that it 
was more psychological.  Don replied that he does not
subscribe to the notion that people can hear
differences.

I will grant that there is a psychological inclination
to hear differences.  We know there is compression
going on, so there must be a difference.  That being
said, I am here to tell you that in some cases, the
differences are there and noticeable - even when not
listening for them.

I don't know how many people on the list listen to
classical music.  I have made a number of recordings,
Holst's Song of the Night, a piece for violin and
orchestra by Respighi and a piece by Massenet for
piano and either oboe or bassoon - can't remember are
three examples, in which there were moments when the
ATRAC just could not encode the music properly.  On
the first two examples, the problem occurred during an
swell in the orchestra.  In the third, it was  low
chord on the piano.  Each time, the music came across
for a second or two as a noise, sort of as if someone
were blowing across a microphone.  In none of these
cases was I looking for, or expecting to hear, a
difference.  I heard them while listening casually,
and then went back to double check.  No need to do an
A-B (no facility either), this was plainly not a
musical sound.  

I have never noticed any significant differences in
jazz or rock.  

The differences are there in some of the more
difficult classical music recordings.   Unless you
have done this, I don't think you can call your
opinion informed.

That being said, I still love MD.  In those cases
where the MD has had a problem, I just made a CDr.  In
other cases, the MD is fine.  Does a great job on
vocals and choirs too.

James 


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