Vaya, mirad lo que dice Ainlay (el ingeniero de sonido) de su propia mezcla: “I think both the SACD and DVD-Audio products sound great,” enthuses Ainlay. “However, from the purist point of view, I do prefer the 24-bit Meridian Lossless Packing (MLP) DVD-Audio (on the DualDisc) over the DSD hybrid-SACD version."

El resto de esta cita no tiene desperdicio por lo que aconsejo que la vayais a leer. Incluso citan a Bob Ludwig hablando respecto del formato DSD.

Otra cita que me parece interesante (aunque hay mucho mas de interes en el articulo):

"Furthermore, he stresses that recording and mixing is an ‘art’ which is all about allowing a sound which is actually quite loud to still sound good at a lower volumes. As for the dreaded ‘EQ’, what he also points out is when one sound has the same tonal spectrum as another, it would tend to mask that other sound. For example, if one would put these two full range sounds up against each other, one might well cancel-out the other. “I therefore need to use EQ to ‘carve-out’ a place for an instrument to ‘live’ in. I believe that the only way you could even conceive of doing an album without any EQ or compression is if you just put up a pair of stereo mics in the hall and leave it at that. But making a pop album — where you have to make it exciting to hear, with many discrete sounds from several speakers — is a wholly different creative process which takes many years to learn how to do. Moreover, compression and EQ are an essential part of that.”"

Uno de los problemas del rock es que como los musicos muchas veces no tienen estudios de musica suelen hacer arreglos en los que se solapan (mal) las frecuencias de los instrumentos. Esta es otra de las razones por las que la musica clasica (donde si hay arreglistas que saben lo que hacen) puede sonar mejor y mas 'pura', porque precisa de menos (o ninguna) manipulaciones para que se escuche todo ya que los timbres de los instrumentos en los arreglos estan repartidos correctamente de entrada.

Por ultimo esta otra cita sobre lo que ocurre con los traseros a los que escuchan musica en 5.1 (habla de nuevo Ainlay):

“It is worth noting that listeners generally become pretty used to the speakers in the rear, and in terms of our human auditory perception, they start ‘going away’ — unless there is activity which moves around, such as percussive hits,” observes Ainlay. “This is illustrated when you take a synth pad and place it in a rear speaker, and pretty soon you just don’t hear it in the rear anymore. This phenomenon occurs in real life where we are just so used to hearing things in front of us and turning our head to find out where that sound is coming from, so your mind just tends to start ignoring sounds that are continuous from the rear. So what I have accomplished, hopefully, makes for a lot of entertaining movement.”

¿Comentarios?