- GRAMMY Live
I love listening to music. The magic way that a great song or composition can excite and connect with both your emotional and intellectual self is something that I believe is unique to music. That's why I learned to play the guitar when I was a teenager and why I continued my studies in an academic setting years later (I ended up with a Ph.D. in composition from UCLA). I wanted; no I had to somehow be part of this incredible art form. After moving from the Midwest to Los Angeles and discovering that I wasn't the only one dreaming about a career in front of a microphone, I turned away from the performing and writing side of music and became a recording engineer and producer. I've been doing it for over 30 years now.
During my career, I've recorded and released recordings made on a variety of formats. I started with analog tape, purchased one a couple of the first Digital Audio Workstations (Sound Tools AND Sonic Solutions) back in 1989 and currently own and operate a state-of-the-art HD-Audio studio near Santa Monica. I also started a music label 12 years ago. When we first started, I released my tracks on DVD-Audio/Video discs. These days, my specialty label produces and releases new "high definition" audio recordings on Blu-ray discs, which is a great format for movies but is also capable of reproducing music in high definition. We also make them available through high-end digital download sites.
And we've garnered a pretty loyal following of audiophiles that seem to appreciate the unique "sound" of our tracks in both stereo and fully immersive 5.1 surround. It's feels pretty nice to get 5 star reviews or have a customer write the words "Holy Grail" in reference to one of our productions via email.
But there are a whole variety of labels (large and small), musicians, engineers and producers that produce and issue remarkable recordings that follow a different production trajectory than my own…and they appeal in their own unique ways. If your goal is to produce a "hit" electronic dance track, your sensibilities and production techniques will be tailored to meet that goal. Each "target" category demands its own production path. They are all valid.
I spent part of last weekend at the NAMM show in Anaheim, California. It's an annual event that brings out musicians and audio geeks of all stripes. As I made my way through the crowded halls looking for the latest gadgets in the recording arts, I happened upon Laurence Juber (who has recorded a number of projects with us). He's widely recognized as one of the finest finger style guitarists in the world and a former member of Paul McCartney's band Wings. After he finished performing, we chatted briefly and he told me that he had a new project coming out. He told me that it would be available as a vinyl LP as well as a traditional CD. The session tracks were recorded on a multi-track analog machine AND digitally at 96 kHZ/24-bits. He wanted to know if I would be interested in releasing the HD-Audio files through my digital download site. He went on that the 176.4/24-bit transfer of the mixed and mastered analog version "sounded the best" to him. I'm not sure that I would agree. The project that we did over ten years ago has become a "recorded guitar reference disc" for its dynamic range and extended frequency response. And I didn't do any mastering on it at all.
His assessment could have been the start of a passionate argument over recording formats. There are a lot of forum and FB discussions over vinyl vs. analog tape vs. CDs vs. DVD-Audio vs. SACD vs. Blu-ray or HD soundfiles. I've had these discussions and they never end well. Music software and hardware bring forth some of the most passionate arguments this side of politics and religion. When the plain fact is that everyone is entitled to enjoy music on whatever format works for him or her.
Just today I was reading a piece about a couple of producers that are using a 1940's era 78 rpm lacquer recording device to capture the soundtrack to their movie. Others are entranced by the "warmth of analog" while others appreciate the sonics of analog tape (yes, there are many reel to reel machines still in operation and individuals dedicated to playing quarter in analog tape). For me it's about the hyper realistic, purist sound of a voice or instrument delivered without the heavy processing that is part of most productions and in full surround. They are all "flavors" of sound to be enjoyed on their own merits. Some may measure better than others but the end result is the connection that a listener feels.
After a lifetime of seeing formats that deliver better and better levels of fidelity, we've actually entered an era when consumers have a choice between heavily compressed MP3 soundfiles for their portable devices (less than ideal fidelity) and ultra high end, surround music that is played at home or in high end car system. They're all flavors to be tasted and enjoyed. However, even lowly MP3 files can be infused with more fidelity and dynamic range.
The variety of formats available to music lovers is wider than it has ever been. You owe it to yourself to audition as many different "sound flavors" as possible. Who knows you might find a new "sonic food" that moves you in way you've never experienced before. I know that's what happened to me when I started producing and listening to new high definition, surround music tracks.