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Thread: Audiophile urban myths and legends

  1. #31
    Join Date: Sep 2012

    Location: London

    Posts: 349
    I'm Nick.

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    I have nothing against digital - when I'm composing and recording music I work entirely in the digital domain (just like 99.99% of people these days), mostly at 24bit/48kHz, and it sounds fine to me.

    I wonder what the therapist's clients were experiencing however, assuming the story is true and not just a myth?

    At the time I recall the therapist blamed it on the fact that digital music 'samples' sound in many many discrete slices per second, and he felt that the body was aware of that on some level, that the music was not flowing continuously as it does with the smoothly fluctuating voltages of the analog realm.

  2. #32
    Join Date: Aug 2017

    Location: Hertfordshire, U.K.

    Posts: 189
    I'm Graham.

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    There was a console just inside the entrance to one of the cutting rooms where local productions were cut from the final master tape to lacquer. On the console facia there were two black knobs, marked "Highs" and "Lows" respectively. As a newbie, I asked the cutting engineer what the console was for and he told me, after swearing me to secrecy, that it was for producers to "tweak" the final sound. When I expressed my amazement that anyone would be allowed to interfere with the final lacquer, he told me to open the bottom of the console cabinet and handed me a screwdriver to turn the catches. I did so and looked inside - there were no connections to anything in there and it didn't do a thing to the sound. The cutting engineer explained further that local producers felt that it was their right to oversee any part of their own production and that they would come in to the cutting room when he was cutting their production and insist on "More bass" or More tops." The cutting engineer would invite them to tweak for themselves, using the dummy console.

    Everything is subjective...
    GrahamS - It's not what you hear that counts, it's what you think you hear........

    Present Kit: NAD 326BEE, NAD C515BEE CD player, JVC QL-7 DD turntable, JVC Tonearm, Shure M97Ve, Audio Technica AT95EX, Pickering V15, JVC Z1E, Wharfedale Diamond 230s, Visual Rio interconnects and My Ears.

  3. #33
    Join Date: Mar 2017

    Location: Seaford UK

    Posts: 686
    I'm Dennis.

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    When TdP offered me a job in '91, he also declared that he was computer illiterate.

  4. #34
    Join Date: Apr 2012

    Location: Southall, West London

    Posts: 36,847
    I'm Geoff.

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    I dare say most of us also were back then.

  5. #35
    Join Date: Jan 2009

    Location: Essex

    Posts: 18,487
    I'm openingabottleofwine.

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    Quote Originally Posted by walpurgis View Post
    I dare say most of us also were back then.

    I still am!
    Have you listened to this month's choice in the Album Club?

    Barry

  6. #36
    Join Date: Feb 2013

    Location: W Lothian

    Posts: 47,351
    I'm Grant.

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    Not sure i'm computer literate, but I can write my name and count to 5
    Regards,
    Grant ....

    I've said it before and I'll say it again: democracy simply-doesn't-work
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  7. #37
    Join Date: Aug 2009

    Location: Staffordshire, England

    Posts: 21,983
    I'm Martin.

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    I was then but I'm not now.

    Unless someone wants a COBOL programme knocking up?

    No, I thought not.
    Martin



    Current Lash Up:

    Technics SLP1200 CD Player * NVA P90SA passive pre / Krell KSA50S Power amp * JM Lab Electra 926 loudspeakers *


    'This is the sort of music I'd be listening to if I was going shopping for a training bra.'

  8. #38
    Join Date: Jan 2008

    Location: Norwich

    Posts: 788
    I'm Mike.

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    Quote Originally Posted by Macca View Post
    I was then but I'm not now.

    Unless someone wants a COBOL programme knocking up?

    No, I thought not.
    Gosh but that reminds me that my (brief) job at N.C.R. Baker St. in 1970 was writing COBOL just before I went to college. I had no idea what was going on then and this has stayed with me since ! I do remember the room full of gigantic R2R machines all whirring away.

  9. #39
    Join Date: Sep 2012

    Location: London

    Posts: 349
    I'm Nick.

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    There was a console just inside the entrance to one of the cutting rooms where local productions were cut from the final master tape to lacquer. On the console facia there were two black knobs, marked "Highs" and "Lows" respectively. As a newbie, I asked the cutting engineer what the console was for and he told me, after swearing me to secrecy, that it was for producers to "tweak" the final sound. When I expressed my amazement that anyone would be allowed to interfere with the final lacquer, he told me to open the bottom of the console cabinet and handed me a screwdriver to turn the catches. I did so and looked inside - there were no connections to anything in there and it didn't do a thing to the sound. The cutting engineer explained further that local producers felt that it was their right to oversee any part of their own production and that they would come in to the cutting room when he was cutting their production and insist on "More bass" or More tops." The cutting engineer would invite them to tweak for themselves, using the dummy console.
    Lol - that's a classic! Thanks for sharing that - gave me a giggle. Thing is I bet they could hear the difference too, and went away happy!

  10. #40
    Join Date: Aug 2017

    Location: Hertfordshire, U.K.

    Posts: 189
    I'm Graham.

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    Quote Originally Posted by nickbaba View Post
    Lol - that's a classic! Thanks for sharing that - gave me a giggle. Thing is I bet they could hear the difference too, and went away happy!
    They could (or at least they said they could) and they did!
    GrahamS - It's not what you hear that counts, it's what you think you hear........

    Present Kit: NAD 326BEE, NAD C515BEE CD player, JVC QL-7 DD turntable, JVC Tonearm, Shure M97Ve, Audio Technica AT95EX, Pickering V15, JVC Z1E, Wharfedale Diamond 230s, Visual Rio interconnects and My Ears.

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