Dynamic Range

[damacman]

Dynamic range, or more aptly a lack of dynamic compression, is most certainly a criteria for me and has been for decades. Case in point - I learned of Grace Potter on Storytellers, learned of Brandi Carlile on ACL, and recently learned of Kacey Musgraves - also on ACL. All were incredible performances with exceptional production. Naturally, I purchased each of their music as a result.

However ... All three Grace Potter CDs, 2 of 3 of Brandi Carlile's LPs, and Kacey Musgraves latest LP all suffered from serious dynamic compression. What a let down - especially given how drastically different the recordings were from my original exposure to each. I actually contacted Brandi's label (Atco) and explained this - to which they responded by sending me a free copy of both LPs, which unfortunately sounded the very same.

After being stung as many times as I have, I purchased a dbx 3BX unit in hopes of reversing some of this. To my surprise, it does so with ease. However, Mark Knopfler, Fleetwood Mac, and countless others know how to get their music produced in such a way that it captures the essence of their art - so such a device isn't necessary.

[jzzmusician]

Originally Posted by cleeds

Sorry, but I couldn't disagree more. The use of dynamics to convey emotion, excitement, and power in music is very much something the great conductors and musicians all exploit. The attack of a note, the subtlety of dynamic changes, the nuance of altering those relationships, are all part of musicianship. Of course, whether that gets translated to the actual recording is very much up to those on the recording and mastering end. But it starts with the composer and performers. And that is why dynamics is part of musical notation - it's impossible to understand a composer's musical intent without understanding the dynamics. Knowing the notes alone is not nearly enough.

Back when I played horn (decades ago), I struggled with a Mozart piece. I drove my teacher nuts until he introduced a new exercise of just mastering the notes ppppp first. Once I achieved that - and I mean that relatively - we then practiced the dynamics. That's how the performance came together.

Later, I played with Chuck Mangione. When we rehearsed his piece for performance ("Hill Where the Lord Hides"), dynamics were all we concentrated on. If you listen to that composition, you realize it's nothing without the proper dynamic relationships. The same is true of Ravel's Bolero. Those are obvious examples; usually, the use of dynamics is more subtle. But that the dynamics may be subtle doesn't mean they aren't critical. A lot of music is based on subtlety.

Well stated and I am in complete agreement!!!

- Bob

[Still-One]

Originally Posted by damacman

Dynamic range, or more aptly a lack of dynamic compression, is most certainly a criteria for me and has been for decades. Case in point - I learned of Grace Potter on Storytellers, learned of Brandi Carlile on ACL, and recently learned of Kacey Musgraves - also on ACL. All were incredible performances with exceptional production. Naturally, I purchased each of their music as a result.

However ... All three Grace Potter CDs, 2 of 3 of Brandi Carlile's LPs, and Kacey Musgraves latest LP all suffered from serious dynamic compression. What a let down - especially given how drastically different the recordings were from my original exposure to each. I actually contacted Brandi's label (Atco) and explained this - to which they responded by sending me a free copy of both LPs, which unfortunately sounded the very same.

After being stung as many times as I have, I purchased a dbx 3BX unit in hopes of reversing some of this. To my surprise, it does so with ease. However, Mark Knopfler, Fleetwood Mac, and countless others know how to get their music produced in such a way that it captures the essence of their art - so such a device isn't necessary.

I own every Brandi Carlile CD and as I indicated in my early posts her performances make any "problem" with compression irrelevant. I would never say her early recordings were well done but the content is what is important.

[clpetersen]

Originally Posted by Robc33

It just makes sense to me. ...
I for one, do none of this to "show off". As a matter of fact, most of my friends think I'm nuts. They want to hear 80's rock, that quite frankly sounds a bit more listenable on their $200 speakers, and Yamaha receivers! I do this for those moments, when I get so swept up in the music, that I get goosebumps up, and down my arms, and that tears actually roll down my cheeks. It doesn't happen all the time, but when it does, it makes it all worth it.
The better the recording, and the DR, the easier it is to get there. My $.02. FWIW.

Nice post!

And another good thread.

[damacman]

Originally Posted by Still-One

I own every Brandi Carlile CD and as I indicated in my early posts her performances make any "problem" with compression irrelevant. I would never say her early recordings were well done but the content is what is important.

I've never been able to get through The Firewatcher's Daughter - such a painful listening experience. Same goes for the new Richard Thompson LP. Both recordings exemplify how not to do it. It's almost as if there's something bad wrong with the production of both LPs.

I have Brandi's earlier S/T and Bear Creek on CD and both are a lot better - different label. Brandi and the twins have been on ACL twice - once with Roseanne Cash and the 2nd time the whole hour. If you want to see and hear her at her finest, the first ACL appearance is it. Then you'll get a full appreciation for the damage done to her vocals with all this compression nonsense. David Hough captures the power of her vocals exquisitely.

[Still-One]

Originally Posted by damacman

I've never been able to get through The Firewatcher's Daughter - such a painful listening experience. Same goes for the new Richard Thompson LP. Both recordings exemplify how not to do it. It's almost as if there's something bad wrong with the production of both LPs.

I have Brandi's earlier S/T and Bear Creek on CD and both are a lot better - different label. Brandi and the twins have been on ACL twice - once with Roseanne Cash and the 2nd time the whole hour. If you want to see and hear her at her finest, the first ACL appearance is it. Then you'll get a full appreciation for the damage done to her vocals with all this compression nonsense. David Hough captures the power of her vocals exquisitely.

I have seen Brandi Live at least a half dozen times including once at Interlochen's Corson auditorium where they acoustics are so good they did three songs without any mics.

Some DAC's do a terrible job with her recordings. I have a compilation disc I use when auditioning gear and I have one of her poorly recorded tracks on one. A couple of years ago my dealer didn't want to believe that his AR Ref DAC sounded bad until I use that as one of the track to compare that DAC with one from McIntosh. The Ref DAC couldn't differentiate various instruments playing in the higher frequencies whereas the Mac did.

[damacman]

I have Firewatcher's daughter on vinyl ...

[damacman]

And I bet those shows were epic! She's gotten a little full of herself lately though ...

[Audioraven]

Dynamic Range is just one piece of the multi-faceted musical recording/reproduction puzzle. Sure it plays a large role, but if microphones, consoles, wiring, etc. used are subpar the recording will be lousy even with zero compression.

[PHC1]

Originally Posted by Audioraven

Dynamic Range is just one piece of the multi-faceted musical recording/reproduction puzzle. Sure it plays a large role, but if microphones, consoles, wiring, etc. used are subpar the recording will be lousy even with zero compression.

That concept exists only in the “audiophile” circle, “most” of the recording studios have never utilized cables made from “unobtanium” and other snake oil ingredients.