[time-nuts] Oh dear

[J. Forster]

It has nothing to do with engineering.

"Artists", and I use the word with a huge bag of salt, are often Prima
Donnas. They are under the illusion that their works are masterpieces,
because they sell millions of copies on iTunes or elsewhere, or theit
concerts are sold out in two minutes. So, naturally, every nuance of their
work needs THE most elaborate equipment to reproduce it in every
breathless detail.

So, to cater to the "talent", studios build bigger, more impressive,
facilities, to attract them.

It's almost entirely a marketing enterprise. The hucksters leading the
gullible at all levels.

I have a friend who is very into classical music. He spent tens of
thousands on a sound system. I then suggested he spend a few hundred and
go listen to the Boston Symphony live and in person. He was really bummed
out for months afterwards. Now he has taken up collecting records, yes
vinyl.

Go figure,

-John

==================





[snip]
> To summarize: Nobody here does want to insult anyone who does professional
> audio recordings. But having the knowledge of what the stability and
> accuracy numbers for an ordinary Rb mean, and being able to put that into
> perspective with the not so good capabilties of the human sensory systems,
> one wonders why people spend an awfull lot of money for something that has
> no audiable effect over something a lot cheaper. Not to mention that other
> things have a much higher impact on audio quality than the reference
> oscillator: Like temperature and humidity during recording (do you control
> them as well to the ppm level?), or the tuning of the instruments which
> wanders quite a bit during use.
>
> 				Attila Kinali
>
> --
> Why does it take years to find the answers to
> the questions one should have asked long ago?
>
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