The reason why a lot of recent digital music sounds bad is because of the intentionally terrible mastering. Since everyone is listening of crappy earbuds, they compress the hell out of it and destroy all dynamic range. This is why when downloading music you should avoid remasters (there are some exceptions, like the Beatles mono and stereo boxed sets that came out awhile ago) and go for the first edition presses.
This is also why modern vinyl releases sound a lot better than digital: they are mastered differently since its assumed everyone is going to be listening on good equipment.
That being said, I think flac is generally a good choice for a music collection. You can’t transcode mp3s without killing the quality so if you ever want to convert formats (like for a mp3 player), you should stick with flac (16-bit, 48hz).
The original idea of 24-bit 192hz flac was for vinyl rips, where hypothetically you might be getting more information.
More compression and less dynamic range is beneficial for certain environments. Noisy subways. Watching TV in a noisy downtown apartment. Basically, crappy, noisy environments. In those, compression will help you actually hear the music and speech. However, the fact that this should be done in the master is an artifact of an earlier time. Now that signal processing is small and cheap enough to be ubiquitous, music should be mastered for the best equipment, then appropriate signal processing should be done by playback.
The problem is, that there is a lot of older equipment out there that wouldn't be able to do this. So the signal gets compressed before distribution, as a compromise for the least common denominator of equipment out there. Otherwise, a big chunk of the population would think the master sounds like crap. To them, in their particular situation, it would.
EDIT: Come to think of it, the current system, where most music is more compressed, but where the people who care can still get a high dynamic range version, is a very good compromise. The problem is that the latter group's selection isn't quite filled out by the market.
Good point, I think particularly for movies or such this makes sense. I want to be able to watch a movie such that I hear what the characters are speaking, without blowing my windows out of their frames during some action scene. Yes, I realize in real life explosions, guns etc. are really loud, and this makes the movie less realistic.
Really loud? Ear-damaging loud! When the realism becomes actually endangering to your health, your escapist media has gone a bit too far.
This means usually the digital -6db is the maximum loudness with a short term maximum of -1db and dialogue at -9db.
Music today should be mixed according to the EBU R128 today (at least in Europe and for radio) which is a serious win against loundess maximizers and limiters.
I’d argue for in decice DSP compression for small earbud people, and give the whole dynamic range to the rest of us : )
So I think it makes sense that records are mastered with a lot of dynamic range, so the people who actually enjoy music can enjoy it, and the people who don't can just equalize it themselves.
You do realize that you just restated my comment, but left out the analysis of the current day situation? BTW, equalization doesn't directly change dynamic range. Equalization is meant to change frequency response. It can change dynamic range by causing clipping.
If you're generally talking about "Loudness Equalization" then in many cases, it really is equalization. I don't know about anyone else, bit I've been talking generally about loudness equalization the whole time.
Windows loudness equalization is not equalization, despite the silly name. Ironically, I imagine Microsoft specifically didn't call it compression because most consumers only think of the other compression. Good grief.
Well, you learn something new every day. In this case, it's yet another time marketers have completely diluted the technical meaning of terminology.
You attach some metadata to the audio file that says certain
parts should be level boosted in a noisy environment and there you go.
Similar to the thing we did witb vinyl back in the day where we wanted to fit more music onto the thing and applyed the standardized RIA filter when cutting the template — every phono preamp reverses this effect.
The tbing is people need to have specs they can mix and master for. Making something up makes mixinf unpredictable and that is bad.
At lower volumes, we perceive mid-range frequencies to be more prominent than at higher volumes. The loudness buttons would add lows and highs and/or lower mids so that the music would "sound better" at lower volumes.
Microchips for leveling audio gain existed in the 1980's and were found in consumer equpiment like TV's.
I'm going to disagree here. They are mastered differently because the physical limitations of the media require them to be mastered differently _and_ it just so happens that the physical limitations help limit mastering tricks in a way that produces less fatigue-inducing, brick-wall-limited mastering output.
A heavily compressed master creates huge peak-to-trough cuts in the vinyl which can cause the needle to literally jump out of the groove, even with RIAA limiting applied.
The assumption of the gear is definitely not true in any mixing or mastering experience I've had. Mastering tries to balance the final product across a range of listening devices, not some unobtainable ideal system. NS10s are kicking around because they sound like arse and make for mastering results that work well on car stereos and other "inferior" systems.
They spotlight midrange with a presence peak right where the ear's most sensitive, and this is in part because the woofer is actually designed more like a midrange: thin paper, conical rather than curved cross-section, both of which also contribute to 'sounding bad' tonally while delivering energy more unforgivingly.
They're not really about mastering, though, they're about mixing because if you have elements out of balance it will be screamingly, annoyingly obvious on NS10s. That's not down to their bad-soundingness, it's down to their ability to be incredibly unforgiving.
Look, I actually grew up with vinyl and 4-track tape, and audio cassettes. Unlike most folks being all trendy and hip nowadays, I've years of using that stuff.
Analog is shit. It's noisy, has a ton of distortion, and it gets shittier every time you copy it. Oh, and if you just keep it in storage, guess what, it decays just by sitting there (vinyl collects dust and scratches when used, slightly different).
In 2002 I built my DAW (digital audio workstation) and recorded my first tracks in 24 bit digital. Zero noise, zero distortion, no generation loss. It was like alien technology.
Digital is better in every way, by a wide margin. Period.
Current mastering practices prevailing in the industry make no difference on this matter. Analog is still garbage. Find digital copies that are mastered properly and you'll be fine.
That being said, I still only buy music in CD, due to all the hassle of DRM and playback. I just want to drop in a CD and listen to the entire album, not futz with computers, encoders, and software.
I have a simple CD player, kit built tube amp, and homemade single driver speakers.
That's what I do. I tend to favor old master copies.
I rip them to both FLAC and MP3. The former is for listening at home, the latter for mobile scenarios. I store everything on the Linux server at home, and share via UPnP. VPN into the home network gives me access from anywhere.
Foobar2000 is my preferred player on Windows, BubbleUPNP on Android.
> kit built tube amp
What's the distortion on that thing?
The vast majority of tube kit schematics are very old tech, stuff that engineers from the 1930s would recognize. Their THD (coefficient of total harmonic distortion) is very high. What is known as "tube sound" is basically just huge THD, along with a specific distribution of energy across the harmonic orders.
It's fun as a hobby, and for the satisfaction of building stuff on your own, but even the simplest schematics built on modern principles vastly outperform these things by essentially all metrics.
Some tube amps are built specifically for low THD, but unfortunately they are rare. When in doubt, use solid state.
> homemade single driver speakers
I used to build everything myself back in the day. Speakers and amps was just part of it. Also did automation, radio frequency (I'm a licensed HAM radio operator), digital circuits from logic gates to DAC/ADC to systems with microprocessors to small computers. It's a small miracle I didn't actually go into electrical engineering.
You really need multiple drivers and likely a subwoofer also, to cover the whole audible spectrum.
I’m not worried about the whole spectrum as I only listen to classical on it, primarily string quartets. The speakers are folded horns, so bass response is reasonable.
Anything like Dream Theater or Iron Maiden is in the car. Would definitely be solid state with a subwoofer for that.
I did a blind test between 128-mp3, 320-mp3 and flac hearing classical music. While it's true that the 128-mp3 is obvious to find, it also isn't too difficult to find the 320-mp3. Flac just sounds better. Described as a feeling, flac is more voluminous and doesn't feel cut short. For fun, I also let my parents take this test and they could tell, too.
That's why I converted all our CDs to FLAC. Storage is cheap anyway.
Other than that MP3 (or Vorbis or Opus, which would probably do better on that song) is great for portability, but I'd still use FLAC for storage.
The only artifact I can reliably hear in 320 kbps MP3s is pre-echo, for instance with castanets, and only in a few very specific situations. Apart from this, V2 and above sounds completely indistinguishable from the original to me.
but what if in the future you could hear the differences?
And now your entire collection is in MP3 V2 - now what?
No reason to not rip everything in uncompressed FLAC these days.
But if your happy with your audio now, great!
Stick to FLAC and keep your fingers crossed for cochlear regeneration tech ;)
And even though you may have diminished hearing you still have awareness of frequencies above 8Khz.
Imagined artifacts will probably remain or might even increase though, since people typically have much higher spending power at 40. :)
I worked in audiology for my entire 30's and tested my own hearing (biocalibration) once a week.
Never once saw a reduction in my hearing thresholds (250Hz - 8kHz)
Nor have I read any supporting documentation that agrees with a reduction of 8kHz thresholds before the age of 55.
https://www.researchgate.net/publication/261767650_Extended_... (table 2)
Something also ends up missing in the midranges. I was working on a track once where all I had was 320 mp3 version of the vocals. At some point I replaced it with a flac copy of the same vocal recording, from the same original wav source and the difference was noticeable right away without changing any of my equalizer settings or anything. It just punched through more and the clarity improved.
I have a room-corrected setup with two properly adjusted subs, and MP3 does just fine on deep bass content.
Regarding solo vocals, the history of the MP3 format says: "The song "Tom's Diner" by Suzanne Vega was the first song used by Karlheinz Brandenburg to develop the MP3. Brandenburg adopted the song for testing purposes, listening to it again and again each time refining the scheme, making sure it did not adversely affect the subtlety of Vega's voice".
That's not to say that they did a perfect job, but human voice was a very high priority.
And the encoders have continued to improve. So an earlier encoders may have messed with the voices, but a reasonably recent version of LAME would do so much better.
MP3's real weakness is fast sharp transients, such as castanets and harpsichord in sparse recordings, where no other sounds can mask them. It's a fundamental weakness in the format, and cannot be completely solved.
Newer formats such as Ogg Vorbis, Opus and AAC do not suffer from this weakness.
Well for me it came from running multiple copies of the same bass heavy tracks encoded in different formats through spectrum analysers. But I guess those lie?
>Regarding solo vocals, the history of the MP3 format says: "The song "Tom's Diner" by Suzanne Vega was the first song used by Karlheinz Brandenburg to develop the MP3. Brandenburg adopted the song for testing purposes, listening to it again and again each time refining the scheme, making sure it did not adversely affect the subtlety of Vega's voice".
Human voices come in a wide range of tones and frequencies. Optimizing something for one voice doesn't mean all voices will benefit from the same optimizations. The specific track I was referring to had a lot of variation in high and low notes. You can tell me all you want what I did and didn't hear.
Of course it's going to look different in a spectrum analyzer, the whole point of lossy compression is to discard parts of the audio to save space.
You can't evaluate the quality of a lossy codec by looking at spectrograms. They're designed to fool human ears, not measurement software.
For readers of your comment and your child comments, it is important to note that the compression you are talking about in that sentence is not the same as the compression that most people are thinking of when discussing digital file formats (mp3, etc.).
This might be helpful:
There are of course multitude of other factors impacting mastering quality, but as far as DR goes, this DB is a pretty good source.
With older encoders, cymbals were terrible, but lame's psychoacoustic model is pretty good at masking those artifacts these days (at least at high bitrates).
For examples, some quick searching on hydrogen audio found a couple songs reported to be ABX distinguishable with lame and after previewing the songs, they do in fact have a lot of quick attacks:
Human Disease by Slayer (Some very fast and cleanly played drum parts; also it's mostly not snares; snares sound terrible at low bitrates, but I personally can't distinguish high-bitrate snares from uncompressed snares)
Show Me your Spine by PTP (The "instrument" used for the base rhythm has an unnaturally short attack).
But this is kind of a pedagogical example. Not the point of who you're responding to.
I don't really hear the pre-echo.
Actually I love that I don't hear compression artifacts in music or see them in JPEGs. Makes my gear so much cheaper. :-)
Phone = LG V20 which has an [ES9218](https://www.androidauthority.com/lg-v20-quad-dac-explained-7...) chip for its DAC.
Headphones = Sennheiser HD380 pro, pretty good for under $200.
Soundcard = "ASUS Xonar DGX PCI-E GX2.5".
Sound source = FLAC, Google Play Music subscription)
I'd like to upgrade to a really nice DAC and headphone amp to connect to the PC via USB, but that's way down the list of spending priorities.
I know that I'd probably have trouble distinguishing between audio components and sources in a blind listening test, and of course I have tinnitus, but I think my current "setup" if you can call it that is good enough for most stuff.
I am absolutely with you on the loudness wars though. It's a joy to listen to stuff that has real dynamic range, but it's not something I obsess over when I'm listening to music in the car for instance.
Of course in practice I do still keep flac rips around because I'm a data hoarder and what if I decide I want to reencode all my music to opus or something? But at least I have the option to stop caring.
To say nothing of how generally available vinyl records (especially old ones) have wildly different rms/peak measurements than generally available CDs and digital recordings have. This is partly 'Loudness War' and partly vinyl's inability to even do the loudness war thing and cope with blocks of heavily limited audio in the first place.
So you'll end up with a record where you can play it, and the peaks are 30 freaking dB over the RMS and it sounds amazingly open and uncompressed… while there's also groove noise that is every bit as loud as the music is (admittedly annoying).
A person arguing the vinyl/CD dynamic range thing would make the claim that the record was equivalent to maybe TWO bit digital audio, or four bit. The most cursory listen to such a comparison will show how inadequate it is.
I agree that the quality of the record -- AND its playback equipment -- among other physical factors will dramatically effect the numbers. My "10-14" quote only applies for ideal conditions: a newly-minted, unplayed disc on a high-quality preamp which together with the turntable and clean needles can produce a very low noise floor. Obviously I'm never going to get this with my dad's old Dead vinyl that he played to death, or with cheap needles, or with those crappy Crowley turntables at target....
Anecdotally, on my home system with clean records, I can make nearly-CD-quality recordings, with the differences only really apparent on flat studio monitors or a good Hi-Fi.
Surprisingly, yes. With noise shaping (https://en.wikipedia.org/wiki/Noise_shaping), very coarsely-quantized digital audio can produce high signal to noise ratios in the audible frequencies, via quantization techniques that push the error towards ultrasonic frequencies.
This doesn't violate information-theoretic limits because noise shaping requires very high sampling rates. The 1-bit Sony DSD format (https://en.wikipedia.org/wiki/Direct_Stream_Digital) used a 2.8MHz sample rate.
In the case of vinyl, the effective sample rate is physically limited by the (linear) record speed divided by the vinyl grain size, and to a rough approximation the bit depth would be log of the maximum groove amplitude divided by the grain size. However, the analog cutting mechanism would greatly limit the opportunity for dithering and noise shaping -- for example a needle cannot cut a wave shorter than the tip size.
High resolution is absolutely important in some mixing scenarios to prevent pre-ringing and aliasing in the effects chain (distortion effects or otherwise). But once you have your hi-res master, there is zero advantage to distribute it that way. At that point, a 48Khz/16-bit FLAC is as good as it gets.
I had always assumed they were taking the same master and just carving it into vinyl. I wonder what percentage of "modern vinyl releases" are actually remastering before pressing...
There are, of course, those brands that care about remasters, but I don't think they're a majority of the market unless you're looking at classical and older jazz.
Basically, to my ears, it just sounds like a bunch of early reflection reverbs were added (an effect that was mature in the 1980's in its high-end implementations and used in studios to get "bigger" guitar sounds and whatnot.)
Of course, it sounds great for all the viewers who are using cheap (or even not-so-cheap) earbuds, or computer speakers.
What these nincompoops don't get is that these albums were made to be cranked up on a powerful stereo, with full sized speakers, in some kind of room. That guy is basically just ruining great albums who were actually recorded and mastered by people who did know what they were doing. Like, oh, Detonator by RATT and whatnot.
So, there is a case to be made for this kind of processing. But I won't trust a random mastering "guru" with unknown credentials to get that right.
In my opinion that‘s a myth and certainly not a given. There are plenty of subpar vinyl masters and terrible pressings out there. And it‘s not that difficult to find good digital masters these days. More important than the medium is the genre, label and target audience - I have a pretty obscure and diverse taste, including rarities from past decades which are finally being re-issued for the first time and while mixdowns certainly vary in quality it‘s mostly fine and the result of a careful process these days.
However things might be worse when it comes to mainstream music.
There's nothing extra in a 192kHz signal that would help with the vinyl mastering process. You could make a technical argument for the benefits of a 24-bit source, but in practice even those benefits would be utterly swamped by the SNR of vinyl.
And you might even have a point, as long as you acknowledge that “remastering for vinyl” doesn’t actually necessitate distributing on vinyl, and what you describe as “the sound of modern CD audio” is entirely the fault of human decisions and not the CD format itself.
Also, you’d need to acknowledge that your description of what “sounds better” is a subjective assessment. It is fair to say that vinyl sounds better to you if what you like is that RIAA processed, variable noise floor sound.
I have just downloaded "Radiohead - The bends" and "Smashing Pumpkins - Mellon_collie_and_the_infinite_sadness", both apparently from vinyl and in highest quality but I don't hear any difference from the CDs I bought and ripped years ago (using headphones "Beyerdynamic DT 770 pro" directly connected to a Lenovo P71 notebook).
Maybe you meant some more modern music or something else...?
I found myself to buy an iPod in... like... 2011 or so. Converted all the CDs I had to FLAC because losless was the way to go.
Two or three years (let it be 5, doesn't matter) pass by, I got a better Smartphone, Spotify Premium and don't touch my 1xx GB of FLAC music anymore, because I don't want to carry around another device etc.
I'm not sure but I think "owning" music like in "I got some files here on my drive" seems dead to me. That obviously has downsides but I feel lucky to use Spotify these days and being able to discover new music every day and listen to all of it on the go without buying something, converting it and more.
In addition, I find that I use the MP3 player when I'm out running normal errands precisely because I've organized my music by hand and even edited tracks by hand in some cases. Examples would be things like rare covers that can only be found on YouTube, or favorite songs from niche internet music communities which were poorly mastered.
It's also a bit of a gear hobby now since there are so many MP3 players on the market. Prices are low and performance is great.
I have to agree about the iPod though, as I found the need for proprietary software, and really annoying software at that, made me use it less and less until my 32GB iTouch was mostly used as an ebook reader. I also prefer physical buttons for my mp3-listening while on the go.
CDs? People with a room full of 8 tracks or cassettes would like to have a word.
HDDs? Those fail all the time, plus any sort of natural disaster could wipe out your collection.
Online backup? This seems like the only real option, but for me the risk/reward just doesn't fit.
At least for now, the record companies and the service providers are both incentivized to have as much of their catalogs as possible on streaming services. Until that changes, streaming works for many.
-My desktop at home
-My server in the basement
-My work laptop's external hard drive
-An external hard drive in a fireproof lockbox (server backup)
-An external hard drive on a shelf at work (server backup)
-An external hard drive in my parent's house 150 miles away (server backup)
Try prying my files from my cold dead hands.
There is a solution for the rest: let me mix songs from Spotify, my own library, and any other services I pay for in a single playlist.
I can access this from every device in my house, and from outside my network.
I can put anything I want onto my phone, USB stick or iPod and play in most any modern car.
Luckily it's on a backed up RAID6 array, in private server, streamable whenever I want.
I mirror all my purchases onto equipment I own, and so I guess I get the benefits of both.
What risk? You can privately store your music anywhere, it's completely legal to do so.
Preferably not hosted in the US, for privacy/bandwidth reasons.
For now, I've decided on pCloud, in addition to an on-site copy on my NAS and a copy on a portable drive that I store at work and update semi-regularly. A couple of rsync scripts take care of everything.
I know it's a cloud storage service and not a an actual proper backup service, but they offer 15 days of rewind as standard, and you can get a full year of rewind as an add-on, which I am considering. That should hopefully protect me from accidental deletes, and give me enough time to restore if my house burns down.
The thing that has really sold me on pCloud is that their Linux client is absolutely amazing. Compared to the barely functional Dropbox client and the non-existent Google Drive client[¤], it is an absolute joy to use. At the moment it's an Ubuntu-only AppImage, but they're working on an improved Electron version.
One additional nice thing is that pCloud is a Swiss company, so their privacy laws (and the GDPR) apply. They do host their servers in the US, so you're not completely free from theoretical NSA/PRISM snooping, but in my case I'm primarily storing my music library. They can go ahead and snoop through the tags of 300+GB of music for The Anarchist's Cookbook or whatever.
[¤]InSync is pretty nice, and I did buy a license for it a while ago, but it's still not as good as pCloud's client.
- stored on the desktop for fast and performant access
- synced to an NAS daily for central access around the house/network
- uploaded offsite to cloud storage daily as backup
I really don't think that's true. I think the "listening market" looks a lot like it did before; a large number of casual listeners and a smaller number of people who are in to their music enough to care about details. The second category does things like talk about differences in mastering between different releases, for instance, and Spotify or Apple are not going to offer you that 1973 Berlin recording or whatever. Tidal tries to cater to this market, but they don't have a massive amount of stuff. And then you get to bootleg collecting and people who record performances, old music that didn't make the digital jump and all sorts other recordings that will never make it commercial services.
I'm not a "real audiophile" or obsessive about collecting things, but I do have a lot of music (last I looked, about 60k distinct artifacts - mostly individual songs, but some of those are albums or nonmusical, also some dupes and garbage). And a lot of that is not on commercial services.
I use my iPod Shuffle exclusively for portable music listening. Cannot beat the form factor, only have to charge it once a week or two (and sometime far longer between charges), and helps me relegate my mobile surveillance/communications device to phone-duties-only as much as possible.
the loss of quality from transcoding lossy to lossy is usually a lot worse than the difference in quality between codecs and bitrates (within reason).
ffmpeg and a makefile with a pattern rule is pretty reasonable; (substutite any make-replacement if you prefer). If you are doing AAC, make sure you use the Fraunhofer FDK AAC not the builtin one (the builtin one used to be terrible, but is now somewhere between "okay" and "pretty good" but the FDK is still considered better last I checked, and your distro may not have an up-to-date ffmpeg).
ffmpeg is pretty good about preserving metadata.
If you want ID3v1 tags for MP3 (only needed for older players), then pass -write_id3v1; there's little downside to putting the id3v1 tag on there as it's quite small.
Links for basic ffmpeg encoding; it shows with .wav input but ffmpeg can read flac just fine and should preserve tags: 1,2
For Ogg output, oggenc can read flac directly and preserve tags, so I've never tried using ffmpeg.
I however, ripped my CD collection to a single flac per disc plus a TOC, and abcde will automate that, including a musicbrainz or CDDB lookup for tagging.
Converting etc. I do exclusively on my Linux desktop, so can't help you there.
Your format of choice should be dictated by your mobile platform - if you use iOS device or simply like iTunes, go for ALAC. Any decent player will handle FLAC and ALAC, but Apple requires ALAC. If Apple isn‘t a concern for you, there‘s no reason to use anything but FLAC.
Personally, I use ALAC since I use iOS. So far there haven‘t been any downsides.
Absolutely, but it's an extra step that to me brings little practical benefit, since FLAC is already the source format & is more widely used practically everywhere outside Apple's ecosystem.
> Your format of choice should be dictated by your mobile platform - if you use iOS device or simply like iTunes, go for ALAC. Any decent player will handle FLAC and ALAC, but Apple requires ALAC. If Apple isn‘t a concern for you, there‘s no reason to use anything but FLAC.
I use iOS as my smartphone platform for now, (waiting for the Librem 5), but Linux on the desktop, so that's why I prefer FLAC. It's worth noting however that iOS itself does support FLACs perfectly well, just iTunes doesn't, (I prefer not to deal with iTunes at all, so not a concern for me), but if you use something like Airsonic, you're set.
I do have a set of AirPlay speakers however, since I wanted something wireless, but still lossless, which kind of means AirPlay is the only option & that does transcode my FLACs to ALAC on the fly, so there's definitely an area where I use ALAC, even if indirectly.
I mostly use 7digital & HDTracks to acquire FLACs these days, but when I rip from CDs, I use https://github.com/whipper-team/whipper to do the job.
FLACs from 7d/HDTracks are already named & tagged properly so I only deal with it occasionally and when I do, https://picard.musicbrainz.org works well for acquiring tags & artwork.
When I need to rename/tag manually, https://kid3.sourceforge.io has been working nicely.
Also I haven't used it myself, but there's a lot of positive chatter around https://github.com/beetbox/beets for tagging etc. I just prefer not to have my files touched in such an automated way :-)
I rarely actually convert from FLACs these days, since I have set up Airsonic, (https://github.com/airsonic/airsonic), on my home server. I now have access to the lossless files directly, from anywhere.
When I do convert, I usually just use https://github.com/kassoulet/soundconverter - nothing fancy, but does the job. I do not maintain my whole library in both, lossless & lossy formats since I have set up Airsonic, but when I do want to save data & do not have access to WiFi, I just let Airsonic use lame to transcode to MP3s on the fly, (rare).
If you cannot do that, don't have regular access to data on the go etc. I'd honestly just use https://ecasound.seul.org/ecasound/Documentation/examples.ht... and put it in a script that checks if a .flac file in a folder or subfolder has a corresponding .mp3/.ogg file and convert if not, then just use find to filter out the format I don't want to copy over. :-)
Over the years I've ripped my CDs maybe 4 or 5 times. I used to have a PowerBook G4 and an early iPod, so I ripped to M4A/AAC. Nothing else played that, so then I went MP3 with storage limitations of the day dictating bitrate. Now, I just want to rip to FLAC and never deal with that again.
On Mac, XLD is great for ripping and transcoding, but I'm not sure what's the hot favourite for playback these days.
I keep the Flac around in case sometime in the future I want to change formats for whatever reason.
I still have Spotify for the times I want to listen to something I don't own or want to listen to one specific song without drilling down multiple menus to find it.
Nowadays, I also just use spotify since I don’t have a quality source for music. But if what.cd was still around, I would dump spotify in a second.
While I do also have a Spotify Premium subscription, I am using it a lot less now than I used to. At least 10% of the album's I have simply aren't available on Spotify, and possibly never will be. Underground self-released artists very often don't bother with streaming services, or are outright against the entire concept in the first place, claiming that it devalues the music. It certainly doesn't pay very well. There's also the issue of music disappearing because of rightsholder disputes, such as most of the Motörhead discography being unavailable for an extended period of time. That sort of thing just isn't acceptable.
Honestly I've come to realize that I prefer a smaller nicely curated collection over a massive unwieldy semi-unlimited library, with questionable curation. I have reported hundreds of curation errors to Spotify, but they keep popping up, especially errors involving two identically-named artists being mixed together.
I will admit that I am very particular about tagging, labeling and sorting by genre. Spotify is woefully inadequate in this regard. For my own collection, I am in full control, which makes it much easier to sort and handle.
Spotify is fine for casual listening, but if you're picky about quality, you're going to diy it, and if you're diying, 24/192 is pointless.
Also, I'm a little bit surprised that nobody focuses on more "out of the box" perception of sound. One can absolutely sense hgh frequencies, personally feel kind of like pressure where you can't pop your ears to equalize. Playing around with this feeling adds emotional tension and color to tracks.
Also, interference patterns are perceptible, and they sound kind of... Different from pure tones, idk.
Sorry, I don't know much about sound so here comes probably the most stupid question of the day (but hope never dies):
does this mean that I might get better sound if I would buy a vinyl & one of those turntables which can directly digitize to USB, then if I would buy & download the digital song directly (or maybe even the CD)? Thx
One other consideration for a music collection from CDs is getting a good rip in the first place. I've had some horrible rips in iTunes, even with error correction enabled. I have much more confidence using a tool like XLD that supports AccurateRip, which probably doesn't work with a lossy format.
If you want to transcode after the rip, fine, but you may as well hang on to the FLAC.
I guess that's why the vinyl versions of my wife's albums always sound better than the downloaded versions. Even to my really quite bad ears.
The loudness war isn't happening because of "crappy earbuds", the earbuds included with smartphones have been rather good for a long time now. The ones that came with my Samsung S8 were designed partially by AKG (Samsung owns the Harman Group, including AKG) and are really damn good. Apple's included earbuds are also very good now, a far cry from the original iPod earbuds, which were decidedly mediocre.
The real issue is radio and Youtube/streaming services from before they implemented loudness targets, and it's been going on since the 50s at least, just listen to some old singles from back then, they're mastered as loud as they possibly could, with the technology of the day. The objective has always been to make your song sound louder than the next song, because louder music sounds more impressive to a casual listener, it's simply more attention-grabbing.
In the beginning of the digital era, there was actually some hope that better dynamics would happen. In the guidelines for Sony's earliest digital recording equipment, the recommendation was to target an average level of -20dBFS, to use very little or no compression, and "let peaks fall where they may". Just imagine that, 20dB headroom!
In the worst days of the loudness war (~early 2000s) lot of music was mastered with barely 3-4dB of dynamic range, with peaks banging hard against 0dBFS. I have some CDs from that era, and they clip and distort like crazy, because everything was just pushed to 11, to be as loud as possible. "Californication" by Red Hot Chili Peppers is an excellent example, it's absolutely horrid.
Since then, two major things have happened to improve sound quality somewhat. Firstly the compression devices and plugins have improved massively, modern sidechain compression is really impressive, entire genres like EDM/dubstep simply wouldn't exist if not for the improvements in compression tech. Secondly, all of the streaming services use volume normalization now, with a set average sound level. Songs can peak over this average value, but the average must be in line with the target. This also results in brickwalled "turn everything to 11" tracks sound a lot quieter, because they have no peaks to use the additional dynamic range available.
Didn't the beatles famously create their music to be listenable on the terrible radios of the time?