Is the MoFi scandal good for DSD?

Everything Else
61

This is an interesting topic and I’m surprised to see so much passion about it.

I guess in my world, my two passions are Music and PC’s (Gaming)

In both those worlds you have small subsets that want the best equipment. With Audiophiles, there’s hearing high resolution detail that others won’t appreciate, likely because they have more sensitive hearing that can hear that difference. In gaming, it’s the professional players that have extremely high refresh rates. Again 99% of humans would never notice over 144FPS, certainly not be able to react in the improved response times, yet there is unquestionably a small percentage that absolutely do benefit from insanely high refresh rates, and therefor spend the money of exorbitant screens and graphics cards to make the most of it.

In any walk in life, there will always be a minority that looks for the utmost experience. DSD at the moment I think unquestionably achieves this in the digital realm, probably with R2R in the analogue sphere followed by vinyl.

The Mofi link is interesting, leaving out what caused the whole stir up, Mofi are still one of the leaders in high quality vinyl, and us now knowing that through DSD sources has really opened my eyes to what’s possible even on vinyl through DSD sources.

I love hearing Paul when he says that even though they’re pressing the Octave Records from the same DSD sources, he recognises that by pressing it to vinyl, it changes that sound presentation, often to warmer results.

Vinyl so deserves it’s come back, it’s such a wonderful medium in so many respects. I have quite a few Mofi UD1S records and some of their normal catalogue, and the only one I felt let down by was the Eric Clapton - Unplugged which just didn’t achieve what I was expecting. But the rest I love, and Bridge Over Troubled Waters, the last live tracks are reference music for me to evaluate the soundstage and depth. And all that was achieved through DSD???

It’s definitely made me think more about DSD, although I’m strictly an analogue guy for now, if in the future I need to sell the collection, I wouldn’t hesitate to check out DSD

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62

…don’t care in a very dedicated way for best sound quality, yes. In my perception from what I read, for most who use PCM this is correct. They argue with convenience in the recording process when reasoning why not to use DSD. I encountered two cases so far where I have argumentative respect for the PCM choice. The one is Stockfisch/Pauler, who decided by listening/comparing, that he prefers PCM sampling rates up to 88,2 against higher ones and DSD (he cared and made a decision). And all who decided to provide DSD recordings in DXD or PCM format after DXD mixing instead reconverting it to DSD.

But I’d be interested why e.g. Chesky and similar labels with superior recording quality don’t record in DSD. I assume it’s because for them the relevance of format against recording skill and convenience isn’t given.

63

I couldn’t have said it better. Support the musicians in all means possible. By all means attend live concerts, purchase music directly from the musicians, and underwrite their performances to the best of your ability. Based on my conversations with musicians COVID has been extremely hard on the music community. Musicians especially enjoy an active audience. They also appreciate it when you purchase music from them directly. I too invest in the music community annually, to a degree that exceeds the value of my modest multiple listening systems. Without the musicians the equipment is irrelevant.

64

I wholeheartedly support this.

I buy most of my records from Bandcamp as as I understand it, they take the least from the artists for hosting or listing media.

Artists are one in a million, to communicate so beautifully through sound or lyrics is a huge skill that enables me to feel highs and lows through the music I love. Not anyone can do it, certainly not well, these people need the highest dues if they’re going to continue rewarding us with such a wonderful pastime.

65

It has never been easier for musicians to monetise. They don’t need a record label or recording contract, they can go to a studio, get a track recorded and produced for very little money, and sell it on Bandcamp. They can easily create their own label and sell merchandise etc.

Now the BIG ELEPHANT IN THE ROOM - there are a lot of musicians who are not very good and will not make a career in the music industry because they do not have the talent or what it takes to do so. THE WORLD DOES NOT OWE A LIVING IN THE MUSIC INDUSTRY TO EVERYONE WHO PICKS UP A GUITAR AND OPENS THEIR MOUTH. So you can play the piano? Great. Next.

I have a couple of friends who have offspring that tried for years and really got nowhere. I also know one guy who despaired that his son wanted to be a classical performer, 20 years later he is world class. He records with Linn because his first conducting job was with one of their client orchestras, although any label in the world would love to have him. I know a few others in-between. I’m sure we all do.

Unfortunately, as it is so easy, there is so much more competition.

My favourite singer, who opens seasons in leading roles at The Met, Covent Garden and La Scala, one of the most in-demand sopranos in the world, hardly records anything. There’s no law saying as a musician you have to record anything.

66

Indeed! And great you invest so much in the music community! That’s what helps generating new talents and help them make part of their living with music later.

Without art, life would be poor.

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67

This is a topic on which I agree with @stevensegal. From talking with multiple producers at a variety of classical record labels, the recording is the “calling card” and usually not the money maker. For most artists, their living in the music world is made through concertizing (ticket sales), teaching, and residence with an orchestra. The recording (and by this I mean the CD) is necessary to pass along to get considered for a booking.

But, production and distribution of the recording is not cheap. And many labels are now expecting artists to absorb a good portion of that cost. So, crowd funding, sponsorships, and later CD sales are important to covering costs of production. But the volume of sales for most classical releases is in the hundreds to single digit thousands of copies. Hardly enough on which to make a living. The music industry continues to be a harsh place to survive, let alone thrive. Those who do thrive are a tiny minority of all who aspire to perform.

So, as some have pointed out, buy tickets! Go to live performances.

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68

Some listeners choose to support musicians directly, while others rely soley on streaming services undermining a reasonable income stream for musicians. I choose to support the musicians in as direct a manner as possible. The musicians I tend to support are extremely talented, tend to push the envelop to a large degree and redefine musical possibilities. They tend to be Iconoclasts. Yes, the digital age has made it relatively easy for anyone to create and release their music. The truly gifted have earned our support.

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69

Yes. A neighbor told me he recorded a new EP with his band. He didn’t find a label in Germany, but in GB. He chose it because it otherwise produces music that fits the band‘s philosophy and taste and has a certain fan base.

The band doesn’t participate in sales of the records. The whole deal was, that every band member gets 15 of their own records for free. With this they are paid. It seems to be a normal deal for non famous bands (independent of the fact that the band leader is school teacher in his non music life)

70

As I noted earlier, the general manager of Hyperion suggested 2,000 to 3,000 sales is a good result.

People prattle on about the big companies not caring. My wife recently spent a week with the person in charge of classical music at UMG, the biggest record company in the world, who has labels like DGG and artists like Lang Lang under their wing. When Lang Lang signed with DGG there was a photo op with Julian Grainge, the head of UMG. They do care, but they also appreciate that hardly any of their clients stream HD music, but they are one of the few companies to do classical vinyl. DGG have some great young artists, like Vikingur Olafsson, whose recordings are superb.

71

Done 190 recordings over 40 years and still crowdfunding.

I see that as one of the world’s leading baroque choral groups, one of their main sponsors is the joint owner of Ronnie Scott’s Jazz Club.

A friend plays for The Sixteen, has done since 1979, but it is not a permanent job. She freelances all over the world. In Germany some orchestras pay big wages and a nice pension. It’s a lot to do with supply and demand.

72

Other than from live shows, I’ve always primarily chosen my music this way:

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They provide information on media and formats, Gramophone using the following key:

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The need to identify video formats is because they review opera video recordings.

For one of the leading classical music magazines in the world, published monthly for 100 years, they don’t even mention whether downloads are DSD, PCM or the bitrate. These are sophisticated music listeners who care passionately about their recordings. Clearly the formats used are not much of a priority as some here would like.

Which is the reason I don’t give much thought to formats, as they are not part of my music selection process.

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