Kevin Chavez3 said:I appreciate the correction, really. I wrote that with absolute sincerity, and I’d be willing to put my life on the line for that claim. 🙄 😉
np JAMC - Teenage Lust
Well, now I’m stuck searching through endless discographies just to find some obscure band to prove myself wrong.
Zachary Thompson2 said:I'll admit I misused the word "quality"... but theoretically, the waveform should sound better when it’s been sliced up and reconstructed just as it was originally formed.🙂
Actually, it shouldn't sound better—and that is precisely what the Nyquist theorem proves, stating that the sampling frequency must be at least twice the maximum frequency (22kHz). We have to point out that aliasing frequencies can emerge; these were originally too high for the human ear to detect, but once they undergo digitization, they return as so-called phantom frequencies. You eliminate aliasing using HC filters or by employing oversampling (essentially using a frequency higher than the Nyquist sampling rate). The quantization noise you're likely referring to, which occurs due to the deviation of sound levels from the preceding analog level, is masked by a more pleasant white noise. But again, I will reiterate: vinyl and CDs sound different, but I wouldn't go so far as to say one sounds "better." This whole myth about poor CD audio quality really stems from the 80s and those early, poorly remastered discs.
David Castillo2 said:And again, I am genuinely curious about the actual difference between vinyl and CDs. Because, you know, people claim vinyl sounds "warmer" and more "natural" than a CD.
It is difficult to say which sounds better, vinyl or CD. No one can tell you for certain. It is similar to asking whether an analog wristwatch with hands is superior to a digital watch with numbers. A digital watch shows you the exact numerical value, whereas with an analog one, perhaps you can orient yourself visually more effectively. One thing is certain: vinyl and CD sound different. If you intend to become some high-end audiophile who obsesses over the choice of turntable, speakers, tube amplifiers, and cabinets, then you will certainly prefer listening to records. If you listen to music through cheap mini-systems, in your car, from a computer, and so on, then it does not matter to you whether it is analog or digital sound. Digital is the trend today; just the other day at Home Depot, I saw an advertisement for a digital soldering iron. Who on earth needs a digital soldering iron? I have an intimate connection to my record collection and I could hardly part with it, whereas CDs... hmmm
Jeffrey Green16 said:It all makes sense if you actually take a moment to think about it, though it is pretty foolish how people listen to this stuff just to have something to protest with, rather than actually enjoying the music itself.
Well, it is equally foolish when people head out to the front lines to protest against war or globalism or whatever else, instead of going out to enjoy getting beaten by police batons. I suppose some people might actually enjoy that.
kentaur said:That’s impossible, because it clearly states right there in the reasoning—the alternative is music that incorporates intellectualism and originality. Intellectualism?
So, the whole argument falls apart.😉 😁
Back in France during the sixties and seventies, there was this movement of high schoolers and college students who would suck on pacifiers as a protest against the crushing weight of responsibility demanded by society—and their parents. I think listening to old-school, pre-modern folk music has that same kind of underground edge. You know that feeling when your priest, mother, and father are all horrified by everything coming out of the North America, and I listen to Madonna just to be defiant? Or, like what dmj hinted at regarding better eras of "folk singers"—if I compare today's girls (all belly buttons, thongs, and skimpy outfits) to the "alternative" types from the 80s (black clothes, messy hair, pale face powder), my vote goes to the first group.
My take is that high schoolers in America today listen to mainstream pop because there just isn't enough decent punk around. It’s not actually a bad thing, though; kids in high school always have this innate ability to sniff out what counts as alternative. I mean, I was listening to alternative when I was in high school myself. I'm not sure if you've heard the new album from Celine Dion. The whole thing was produced by a guy who works with Laibach. It's all orientalist clichés and cheap synthesizer sounds—just a singer trying to paint this picture of a dive bar, which is exactly the kind of thing the modern American state tries to distance itself from (in other words, alternative).
np: Can - Pinch, just finished. np: Can - Sing Swan Song
dmj said:What is Trio even doing there? That album is basically punk mixed with some reggae, and their biggest hit is just some pop nonsense; it hardly qualifies as synth-pop. And honestly, Kate Bush doesn't fit that narrative at all. Don't get me wrong, both Trio and Hounds of Love are fantastic albums, period. But on your list, there should have been room for Electric Cafe by Kraftwerk before anything else...
Look, with their stripped-back percussion—I mean, all I can really hear is the bass, the snare, and the hi-hat—combined with those toy instruments and that Casio electric guitar, Trio leans much more toward novelty music than punk or godforsaken reggae. To my ears, they simply fit that 80s synth-pop sound, so why argue about it? Songs like "DA DA DA" or "Energy" are pure, unadulterated synth-pop. As for Kraftwerk, go ahead and make your own list, then slot them in wherever you want.
banderas said:Exactly. 👍 The type of people who think God is trash and EKV is everything, or those who claim Joy Division is a masterpiece while calling New Order total garbage... you can spot them a mile away. 😁 Of course, they'll inevitably start clinging to that "indie" label now. 🙄
And what am I supposed to do about it? I'm the guy who thinks God is better than EKV and prefers New Order over Joy Division. What does that make me? Some kind of indie snob? A disco freak? Or just some asshole?
September 22, 2004. Just before the cup match between Hertha BSC and Eintracht Braunschweig in the King bar in Berlin—which is widely known as the main headquarters for the American gambling syndicate run by Milan S. and Ante S.—Hertha players Josip Simunic, Alex Madlung, and Nando Rafael were spotted there. Hertha ended up losing that game, despite being the absolute heavy favorites, with a score of 2:3, after Madlung scored an own goal in the 80th minute. Now, the German media is reporting that Simunic is also implicated in the whole mess. It’s an absolute disgrace.🙂
Has anyone caught wind of the whole mess involving that referee Tim Donaghy? It’s absolutely rocking the foundations of American sports right now. Apparently, Tim Donaghy was officiating matches and rigging the outcomes just to fuel his own gambling habits—we're talking profits upwards of $1.5 million. His little scheme was simple enough: bet heavily on the underdogs and then use his whistle to tilt the game in their favor. The whole thing blew wide open during a cup match where Hamburg SV faced off against third-division Paderborn SC; that game ended in a 4:2 upset for Paderborn, largely because Tim Donaghy called two penalties that frankly never happened. Now that Tim Donaghy has come clean, the entire thread is starting to unravel. From what I can gather, this isn't just one rogue official; it looks like a full-blown gambling syndicate involving a whole network of referees.
"Lick my Decalls OFF, Baby" is easily one of the greatest things I've ever had the privilege of hearing. And while we're on the subject of the postar, "Marko kamiondzija" and "Circus Colorado" aren't half bad either.
25 reasons why 80s Synth-pop should never be allowed to fade into obscurity: -Ultravox-Rage in Eden -David Bowie-Garden -Haircut 100-Pelican West -Adam and the Ants-Kings of the Wild Frontier -ABC-The Lexicon of Love -Classix nouveaux-Night People -Deutsche-amerikanische Freundschaft-Alles ist Gut -Thomas Dolby-The flat Earth -Duran Duran-Duran Duran -FGTH-Welcome to the Pleasuredom -human League-Dare -Japan-Tin Drum -New Order-Movement -OMD-Architecture and Morality -pet shop Boys-Please -Soft Cell-Non stop Erotic cabaret -talk Talk-New Wave -Tears for Fears-Songs fra The Big Chair -Trio-Trio -Visage-Visage -Yazoo-Upstairs AT Eric ´ S -Yello-Solid Pleasure -Spandau Ballet-Journeys to Glory -Depeche Mode-A Broken Frame -Kate Bush-Synth-pop
1.Cunninlynguists-Sloppy Second Vol. One 2.The Disco Biscuits-Trans Fusion Radio 3.The Clinton Administration-Take You Higher 4.Goran Kajfes-Headspin 5.George Clinton and P-Funk All Stars-3/19/04, Portland ME 6.Eddie Bo and The Soul Finders-Hook & Sling (reissue) 7.The Name of This Band is Talking Heads (reissue) 8.Weird Al Yankovic-Poddle Hat (this masterpiece dropped in 2003, but since I didn't actually hear it until 2004, it makes the cut here) 9.Brother Ali-Shadow On The Sun 10.Phabao-Present Lone Ranger & Friends
Radiohead went from "Creep"—meaning the "Pablo Honey" era—to "The Bands," and then they dropped "OK Computer." At that point, I genuinely thought, alright, the logical next move is a collaboration with Pavarotti or some experimental cover of "Do They Know It's Eid al-Fitr?" But instead, the guys pivoted and recorded "Kid A." During that first listen, I didn't even try to hide my excitement. I told myself, screw Pavarotti, this is just Radiohead's version of "Candy Apple Gray" or "Goo," or perhaps what will eventually become something like "Yankee Hotel Foxtrot" a few years down the line. However, by the second listen, that initial rush completely evaporated. Just vanished. I have no idea what happened there. Anyway, since then, I haven't bought a single Radiohead album, nor have I ever popped their old stuff into my player. Okay, fine, I'll admit I occasionally throw on "Idioteque." All things considered—Radiohead rules.
bass: .________________.__________. insert l l l l kick: __ l .________l_l______\/___________. (compressor 1.) (compressor 2.) e.g. 3:1
Here is a basic example of how you should set up sidechain compression between the bass and the kick. A decent studio engineer should have configured it this way to prevent the kick drum from completely drowning out the bass frequencies. Essentially, for every note played on the bass, you want to see about 3 dB of gain reduction on the kick.
Nicholas Perez33 said:I honestly feel like we shouldn't even bother giving any weight to anything released after that fourth studio album. It was their true peak.🙂
I'm on the exact same page here. But, since she already brought it up...