Why aren't all CDs created equally?


The best part of my system upgrade, over this past year, is listening to music and hearing things (differently) for the very first time. You guys know the deal. I don't have to go there. What kills me, however, maybe more so now, then before, is that poor CDs are still poor--their inherent weaknesses even more highlighted. It's hard for me to get past the inadequacies of many CDs and just try to get into the music. I guess, the problem is, that after listening to, ie. Patricia Barber's CDs (which highlight what I've been trying to capture in my system) contrasted to a ho hum recording (which there are, frightfully, more) takes the wind out of my sails. I've paid a lot of money (for me that is) for those extended airy highs and, you know the rest, but they're just not there regardless of the system on many poorly recorded CDs. You can't listen to what's not there. The guys in the recording studios can't have tin ears, can they? Don't they hear what I hear? Perhaps the mass market really doesn't give a shit. I just don't get it. It's very frustrating. For older (jazz particulary) recordings and the like, I'm much more tolerant (though still frustrated by the poor sound), but new stuff? Anybody else relate? Can you suggest a good audio shrink to help me let go of this problem? Thanks in advance, guys...warren
P.S. And another corallary problem: when I get a shitty recording, (say, purchased from Tower Records) they don't let you return them anymore, due to the burning in thing. You used to be able, even after months, with a receipt, to return CDs. I get Beth Ortons new CD home, (Daybreaker-want to check her out) can't stomach the first four tracks. It's over. Her voice is so shrilly sounding and the music poorly recorded ( to my taste) I might as well chuck the Cd in the garbage. I'll give her a try again, but it's still very frustrating not being able to return it for an exchange. Anybody know where I buy CDs and return them, after being played, for credit toward other purchases? Sorry for all this rambling...
warrenh

Showing 2 responses by jlambrick

I have a system that I would consider "ruthlessly revealing". My previous system is now our living room system is much less so although still pretty hi fi. It never called attention to how bad some recordings can sound but it also never created the sense of realism that the new system can. Overall, I guess I've chosen to take the good with the bad and listen to the best system the vast majority of the time.

One thing that has helped me deal with the huge amount of variability between recordings is trying to take apologists approach to listening. If I can, I try to categorize recordings stylistically. Here's what I mean:

Photorealistic: Instruments are life-sized, spread across a soundstage as they would be in a live venue.

Technicolor: Instruments sound real yet are embellished by a larger than life soundstage. An example of this is the piano being spread over a 15-foot stage or drum sounds being farther apart that a pair of human arms could stretch.

Impressionistic: Pleasant yet unfocused instrument sounds in a large soundstage. I like to have at least one real sounding instrument in the mix to add some kind of point of reference.

Weird yet appropriate: Nothing sound very realistic but everything works in some sort of musical netherworld.

Raw: Unpolished yet crackling with at least some kind of energy. These are the best of the garage recordings.

Background: Music that was never meant to be the listening focus. Also, some of the ethereal stuff to fall asleep by.

Shitty: Everything else.

It would be nice if nothing were ever shitty but that's probably never going to happen considering the mass-market focus of the music industry.
Zaikesman, I agree with your message and I don't mean to come off as an audiophile who can't be happy with anything but the best quality sound out there. But I think the common denominator of complaints against the quality of many recordings is that we know what's possible and it's frustrating that it is unattainable so often - especially when the performances are right on.