How we struggle to keep bad sound

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I would suggest that well over three quarters of the discs in my physical library suck. Yup. Bad recordings all. Sure, some great music, but when it comes to recording quality not many live up to high standards and even fewer are exemplary.

Isn’t it odd then, given all the poor recordings, that we struggle so hard to perfectly reproduce them?

I have spent a great deal of time in recording studios over the years. Most are pathetic when it comes to fidelity. Based mostly on chip op-amps, heavy EQ, miles of wiring and switches, and less than adequate power supplies, what passes for quality in a studio wouldn’t make it past first base in a high-end two-channel stereo system.

And yet, we cherish those recordings, spending thousands to make sure we wring every last nuance from the recording itself. (Which kind of makes sense since often there aren’t many of those nuanced sounds to be enjoyed).

As I have mentioned in past posts we are building a state of the art mastering and recording studio in partnership with Gus Skinnas and a handful of the few recording experts left that care about quality. We will build that studio in our new facility and from those efforts we intend to reimagine what live sound reproduced in your home really means.

It’s something we are quite passionate about.