Today’s music is digitally mixed on laptops and has zero dynamic range or feeling. Then again people listen on Bluetooth now so they are only getting 20% of the music anyways. Makes me very sad
2024 I finally tried some Bluetooth headphones after maybe 10+ years.
Still using SBC by default, still no duplex HD audio, and still static driver noise at idle.
What is even the point lol. SBC-XQ only solves the first problem which is still inferior to even the cheapest of quality 3.5mm cable.
Even my Nintendo DS sounds better and it’s limited to 32Khz audio lol.
Jeez, were one of the two devices 10 years old? That hasn’t been my experience for a long time (except the duplex audio issue. I can’t believe it’s still terrible.)
Then again, I mostly use BT for the convenience. Being able to do yard work with zero wires is amazing.
I wonder what you would think of LDAC if you’d ever try that
Tried it and still a big difference between plugged in with a nice dac
Let’s get you back to bed, Rick Beato.
The early days of stereo (which is what you’re talking about, the recordings of 70s which aren’t using stereo as an “effect” almost universally have the vocals panned to the center. The old way to take the vocals out of a recording was to adjust how much of the signal present equally on both channels was allowed to be played) were all about two things: backwards compatibility with mono systems and giving people with stereo systems a recognizable effect no matter what goofy system they had.
Wild panning accomplishes both goals.
Studio engineering that used the stereo format to create the illusion of a room or capture the sound of the room the players were playing in wasn’t developed yet and came from the experimental stereo recordings that sound crazy now like silver apples of the moon.
Wild guess but stereo equipment wasn’t a thing in households and it was a way to get the adoption going
One of the worst abuses of stereo in my opinion are old Beatles albums. Maybe cuz the tech was somewhat new they were playing far too much? Too much for me anyway
It was designed to show off stereo sound which was still fairly new at the time. I like the way those recordings sound actually.
It was the early days of a new technology and way of listening that was completely different compared to the past 60+ years of recorded audio. I guess as a more modern analogy it’s like those cheap 3D films at the height of the fad that felt the need to gratuitously shove objects directly in front of the camera to get the most out of the 3D effect.
Those were the better 3d movies because they at least felt like there was depth. Unlike those modern movies.
Just put it in mono. Now, how can I fix this infamous autotune trend?
Just ignore that crap and put some real shit into your headphones. Like The Cramps - Songs The Lord Taught Us.
Play it loaded.
I just love this kind of personal recommendation instead of the same shit Spotify and every streaming/scrobbling service keeps recommending. Sure I will, thank you.
Now, how can I fix this infamous autotune trend?
Instrumental-only music?
You mean quantized, snapped-to-the-grid instrumental music? Sigh.
Hey, if the grid is fine enough…
Quarter-notes lol
there is plenty of non-quantized instrumental music if you’re willing to look, and even then dismissing all music doesn’t forego a strict grid (which in the modern day is simply a choice and artist can choose to make) is dismissing a massive body of work just because it doesn’t use a technique that you like
Dude/Dudette, it was just a gag comment. Not only am I not really dismissing a massive body of work just because it uses quantization, as someone who’s spent more than half his life writing software synthesis applications, I’ve literally made a career out of quantization.
That being said, music that is not quantized definitely has a more natural feel to it, although putting that “feel” into sequencing software is surprisingly difficult.
As a treble lover, I tend to have problems with low bitrate and lossily compressed stuff.
But from what I haveseenheard, as long as the quanta are fine enough, the resultant regenerated audio tends to be close enough to the original. Of course, the components of the sound card matter, when you get to extreme clarity levels, but I guess my ears are not fine enough for that.
this kind of comment just reminds me of how people used to complain about distortion on electric guitars when it was initially discovered/invented/popularized
Brother it’s time to join us in the drum and bass camp
I second this motion. All in favour?
I’m in favor. Atmospheric / jazzy / “intelligent” drum and bass is amazing.
They \just got stereo bakk then igth
I’d be perfectly fine if everything was just mixed mono. I see little value in stereo. I’m weird like that.
Things like Spotify or your phone/earbuds themselves usually have a mono setting. I use it all the time when only wearing one earbud. Beatles songs are notorious for splitting vocals to one ear only.
The solution is already right there. But let me guess, “No, I want to use my old wired earbuds from 1995 and they should accommodate me in my archaic niche use case instead of me upgrading my earbuds to enjoy the new features developed like forced mono”?
Beatles songs are notorious for splitting vocals to one ear only.
FYI, you’re listening to the wrong mix then. Beatles albums (particularly those before The White Album, or maybe Sgt. Pepper/Magical Mystery Tour, I forget exactly) were never recorded with stereo in mind. The tech was pretty new, and the stereo mixes of those songs/albums were more of a novelty.
If you’re listening to the 2009 Remasters, make sure you’re listening to the mono versions if it’s an album prior to 1967-1968 or so, otherwise you’re gonna get this “fake stereo”, panning a mono signal between L and R, bullshit.
like @zaphod said, its mostly to make it sound wider. in mono, everything sounds like its in the center of your skull. in stereo, some stuff it a few inches from my ear (wherever the drivers are), some stuff can be in my head, some can even be in my throat if that makes sense
In electronic music you often slightly detune the left and right of a synthesizer to make it sound “wide”, you can’t do that in mono and if you mix the stereo down to mono it sounds boring.
Cant you do that in mono with two oscillators? Also aren’t analog synths mono most of the time?
However most clubs are going to be playing mono so always bounce to mono and test mix.
Think this is more an artifact of the way vinyl records worked - since audio can be encoded in two channels via the way the needle moves in certain orientations
Urr, I don’t think that’s it. I’m not sure stereo sound for vinyls has ever worked so that something like this would be necessary, and it wouldn’t really make sense – why would they have to put vocals on one channel and instruments on the other?
A stereo vinyl player just has the needle moving up and down in addition to left and right, so that the left-right axis is the sum of the waveforms of both channels and the up-down axis is the difference – which means that a regular mono player can play stereo vinyls
My dad had some albums, maybe Mike Oldfield or others…there was a train going through a station, and hearing it pass from left to right in stereo was amazing at the time
The things people did with mixing in the 70s and 80s were revolutionary, and a lot of the sound you hear today was invented in that time. Things like the drum sound in “In the Air Tonight” with compression gating has been used ever since.
https://www.musicradar.com/news/drums/classic-drum-sounds-in-the-air-tonight-590970
Freakin’ incredible. I’m learning a ton and gaining a huge appreciation of it all thanks to everyone’s comments in this post.
That’s what good link aggregators are for.
The jump from mono to stereo made a lot of engineers’ heads spin. Then again, how many 100% perfect 5.1 albums have you heard?
Actually, I’ve listened to only three 5.1 remixes, all of them phenomenal albums to begin with, and their 5.1 jobs were pretty meh. Yoshimi Battles the Pink Robots came out pretty good, but mainly because they just fucked around and tried stuff.
It makes sense. I bet it’s super hard, especially at first.
It’s largely a headphone problem, at least for me. I can’t listen to a song where certain tracks are completely isolated to one ear. The audio doesn’t need to be mixed perfectly, but I need at least a little bit of each sound in each ear. Otherwise it’s too distracting. My brain hates it.
It’s supposed to sound like the band is in front of you on a stage. Not all mashed into one spot in the center of the stage. You should be able to close your eyes and picture where each drum is positioned. Where the before guitar players are standing. And you should be able to hear the shape of the room. Modern recordings mixed digitally can no longer do this. Then again if you’re streaming Spotify into Bluetooth your missing most of what’s there anyways.
I hate the “spatial” mixes.
Sometimes they’re done really well, but most of the time it’s just putting different parts of the song in different areas and makes it sound “diluted”.
Like, the guitar is in front of you, then the bass is behind and to the left… why??
My understanding is that most (at least rock) music is mixed this way, just subtle enough to help your brain pick out instruments but not enough to consciously notice.
Music is mixed that way, but spatial then takes a hammer to that concept.
It takes away the single interwoven sound and imo sounds like different tracks being played on opposite sides of the room.
I usually try the atmos mix for an album if it’s available on tidal, and usually all it ever does is remove the punch from songs.
You’re missing a key ingredient: Lysergic acid diethylamide.
In all other circumstances I agree with you.
Lysergic acid diethylamide doesn’t fix a bad mix.
You can still hear all the separate instruments surrounding you on a good regular mix, all the spatial does is break the interwoven sound.
Lysergic acid diethylamide doesn’t fix a bad mix.
I mean… Have you ever listened to “Whole Lotta Love” or “Axis: Bold as Love” while tripping balls? Those panning parts are pretty wild.
Brian Wilson of The Beach Boys, who produced Pet Sounds, was actually deaf in one ear. Despite that, he got along just fine in a monophonic world, but the switch to stereo completely left him behind. It was a huge change in how music was mixed.
And yet Pet Sounds (and even the contemporary stuff they originally recorded for SMiLE but never officially released) still sounds phenomenal to this day despite being in mono.
The man was a wizard.
Have you ever listened to Zaireeka appropriately? I haven’t, but that must be a headache to line up correctly.
It was a pain in the ass but me and a buddy got it working once. I was a young teen and this was long before weed helped me see more beauty in music, so I didn’t get much out of it, but as an adult it’d probably be different.
I thought part of the point of Zaireeka is that it is impossible to get it exact every time, so every time you play it it is a unique soundscape.
There’s some cool 5.1 and even 7.1 stuff in classical music (I don’t have a a surround sound setup myself but I hear a lot of talk of it).
karaoke moment
This would be more early 60’s, mostly because those engineers were working with 2 track stereo which really limits your options. Most artists were recording on at least 8 track stereo by the 70’s.
Exactly. This is a 60s thing, not a 70s thing.
I noticed that I had blown the front left speaker in my first car when bohemian rhapsody was missing vocals. I don’t remember when “a night at the opera” came out, but I’m going to be bold and say the 70s.
Hendrix springs to mind
The Beatles springs to mind for me.
Elea👂👂nor Rigby.
Beatles albums prior to… I want to say The White Album? Or it might have been Sgt. Pepper/Magical Mystery Tour, were recorded in mono and originally released in mono. “Stereo” versions were released (“Fake stereo” AKA recording in mono and panning it to one side or another) which are the ones that sound kinda bad imo. They were never intended to be listened in stereo other than as a novelty.
It wasn’t until their later albums were they actually meant to be listened to in stereo. Eleanor Rigby, being on Revolver, was not recorded with “real” stereo mixing in mind as far as I understand it. If you’re listening to the 2009 Stereo Remasters (the Box Set versions), then they were properly mixed into stereo, and sound pretty good. However, the original experience was always meant to be mono.
Though I’m sure there’s some expert on this shit that knows more than me.
I have all of the remasters, but it’s the newer mixes that really do a great job with stereo. I love the Beatles. :) The Giles Martin mixes really are awesome. I hope he gets to all of them.
