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Why no acoustically-managed flow for Recordings?

Thinking of the analogy to high-end printing, where a color-managed workflow is a given, why don't we have acoustically-managed flows for recorded music?

I'm a photographer. When I take a photograph, it is "tagged" with a color-space. As it goes through the processing pipeline it remains tagged so that the computer knows how to best interpret the numbers that represent the image. For my output I have a special ICC-profile for my printer/paper combination.

Why couldn't a similar process be done for audio? That way we could more closely hear what it actually sounded like at the Metropolitan Opera House (or where-ever the music was recorded.) The music would be tagged when it is recorded. As it reaches the output, there would be a profile for my particular combination of electronics and speakers.

Wouldn't that be closer to reality?

Here is a link on a color managed workflow for visual (as opposed to acoustic) information:
http://en.wikipedia.org/wiki/Color_Management
hdomke

Showing 1 response by psacanli

psacanli
535 posts
 
It sounds 'interesting' however given the staggering range of lo & mid fi gear and the miniscule market for hi end stuff I don't think it is economically viable- plus you have each individual room to contend with--it's just not like a tactile photo.
As for listening to the venue we get right back to the basics. 1-eliminate the harshness from digital by adaquate power conditioning & isolation; this will yield the far greater detail that is available in each and every plain old CD. 2-tune the room to eliminate its signature as much as possible.
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