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I recently asked Stereophile magazine’s editor, John Atkinson, to name the record that made him take notice of the sound, and without hesitating for a second he said, “Jimi Hendrix, ‘Electric Ladyland.'” Good choice!
The same criteria apply to speakers and amplifiers; if designing great audio gear was just about reducing distortion, we would already have reached the goal of reproducing perfect sound. I’ve heard a lot of the world’s best audio gear, and even there, nothing comes close to reproducing the sound of an orchestra or a rock band. I can’t imagine a major design breakthrough over the next decade or two that will change that, the recordings are the main obstacle. If the sound isn’t fully captured in the first place, a perfect set of speakers and electronics won’t be able to reproduce the true sounds of voices and instruments. As it stands now, analog or digital recording technologies aren’t the limiting factors.
I remember just before the CD was introduced 30 years ago thinking that digital audio would be a giant leap forward in fidelity, but as soon as I heard a few CDs I knew digital wouldn’t do a thing to make music sound more realistic. The CD was vastly better than LPs and cassettes in terms of noise and distortion, but voices still didn’t sound like they do in real life, and pianos didn’t sound as big and powerful as they do in Carnegie Hall. That mystified me; those early digital recordings were compression-free, and I was told digital didn’t add or subtract anything from the sound the microphones recorded. Digital sound should have been perfect, but it was just different than the analog recordings I grew up with.
All the staples are cracked out, including Mexican Superman ordering tacos, Black Superman liking watermelon, Asian Superman coming with his own chopsticks, Jewish Superman being cheap, Middle Eastern Superman smoking hookah and French Superman being plain rude.
n For nobody a pair of headsets assumes the level of importance that it does for a DJ.
Since the common iPods ear buds we own along with our stereophile phones will not cut in a clubbing environment and specialized headphones are required, many brands have launched specialized headphones especially meant for the DJ’s. However, it’s essential for you to keep some guidelines in mind while purchasing them to lend yourself the best piece to DJ wit
For me, it was the first Led Zeppelin album. The music hit me hard, of course, but it really was the power of the recording; everything else sounded like black-and-white, and Zeppelin’s music was in Technicolor. Bonham’s drums in particular were so much bigger, more immediate and korgorus.pl – http://korgorus.pl/index.php?title=User:FelicaE0481702 driving than other records in the late 1960s. Motown and the Beatles records were way up there for me, but Zeppelin’s sound was beyond the rest. I wanted to hear that sound more clearly, and that’s how I became an audiophile.
That’s when I realized that striving for ever more accurate recordings wouldn’t improve sound quality. The things that make sound pleasing to the ear aren’t limited to making technically better recordings (or hi-fis). Great-sounding recordings sound great mostly because of the hundreds or thousands of decisions made by the engineers who recorded, mixed, and mastered the music. Their choice of using a microphone that flattered the vocalist or saxophone, the acoustics of the recording venue, the processing that was used to create each sound within the mix make or break the sound. The recording format also plays a role, but analog or digital, they’re just a small part of the overall sound picture. Perfect sound isn’t really what most engineers are striving for; they just want to make a recording that sounds good. And good sound is a purely subjective call.
This might be a tough question for a lot of people: defining what good sound is, and separating sound from music isn’t easy. It might be impossible to distill it to just one album or song. We tend to like the sound of music we like, and conflate good sound with good music. That’s understandable, but when the sound jumps out and draws your attention, take, for example, the sound of Jimi Hendrix’s feedback. It was Hendrix’s distortion, not his songs, that forever changed the sound of electric guitars.
There are racist jokes aplenty throughout, as the super friends argue over how much to tip, with Asian Superman the only one who can calculate it, Jewish Superman insisting they bail without paying, and Black Superman suggesting only ten per cent because the waitress is white.
Super friends: In Racist Superman, several stereoptype-adhering Men of Steel run into each other at a cafe, including Black Superman, Asian Superman, Jewish Superman, Middle Eastern Superman, and Mancuso’s own Mexican Superman AKA SuperJuan
In contrast the open-back headphones have perforations over the earpieces which allow the noise and disturbances from the environment
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