CC: Numbers such as sample rate and bit depth are only part of the equation. The people behind the recordings are more important. Will there be a Pono certification or guarantee or Mastered for Pono type thing to designate tracks that are of pono quality.
NY: No. Pono is Pono. You make what you make. When we say it's Pono that means we are bringing you the closest thing to the master, if it's not the master, if it's not the native resolution it's the closet thing to it that was mastered. Then were asking why the hell didn't they master the native resolution. If you buy what it is they supplied, and there's a higher resolution, and we're after them to master it, and they master it, you get it. You don't have to pay for it. You've already bought the best it can be. The best it can be is what we're gong to give you. You just have to download it again in our store. You'll get notified in our little newspaper, these are the new things that got upgraded. You bought it, you can believe if we can we'll upgrade it if it's not it's high as it ever can go. A lot of our stuff will be as high as it will ever get. A lot of people recorded at low res in the last little bit of time. Before that it was different. It's only recently people gave up. There's a window of that. There's nothing we can do about that. We can't put people down for that. We'll play whatever it was they were able to do. They created it. That's what Pono is. It's not about mastered for Pono. It's mastered. Period.
CC: Will Pono have an effect on the Loudness Wars or encourage less dynamic range compression.
NY: (Long pause) Well, I don't know. It could. To me dynamic range is king. The music decides how compressed it is. If you make a mix and you make the mix, not mastering, in the mix, that's where you do the compression. You compress certain instruments as an effect. That's really all you want. You want that **** to pump so that's what you compress. Why compress what comes and goes? You don't have to make that decision in mastering. The artist can make the decision. If they want something that pumps and grooves all the way through like ah, what the hell is the name, it's a great great band, two guys, two guys (The Black Keys -CC), Yeah, they are great. They use a lot of compression in their mixing. They record at like 48. I've noticed what they do. They'll have more to play with. They can still have that sound and have it be a 192 master with just like one area of the song, maybe the hook, or one instrument be 192, just *******, what the hell is that! The mix is made up of these two things (sample rates). You get source stuff that is 48k, it's not going to be higher than 48k unless you put acoustic echo on it and that echo will be at 192k. Using resolution as an effect is one of the offshoots of Pono. That's one of the creative tools that people like the Black Keys, Kanye West, Eminem, Jay Z, LIl' Wayne, can use. They are very creative, let them go, let them have whatever they want we just give them more.