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Schiit Happened: The Story of the World's Most Improbable Start-Up

Discussion in 'Jason Stoddard' started by jason stoddard, Jan 23, 2014.
  1. Pietro Cozzi Tinin
    Nice chapter, very educating too.
    Not to be ungrateful but can we expect a chapter on future products and technique too?
    ScubaMan2017 likes this.
  2. CAPT Deadpool
    I recommend the zeroth law of robotics (asimov). In coding u frequently start counting at zero for example IPv4 address octets.
    AudioGal, sam6550a and Mike-WI like this.
  3. FrivolsListener
    I feel like this chapter should appear on bulletin boards in companies that have lost their way (which, IMO, is the majority of them).
    US Blues, sam6550a, Mike-WI and 2 others like this.
  4. Gimpinchair
    I love that you know who Poppy Is!
  5. GumbyDammit223
    I'm very much aware of the dynamic range compression issue with current-issue CDs. In fact, when I rip one of my CDs, I always run the offline dynamic range programs from the company whose name currently escapes me. The measurements definitely trend downward for a lot of CDs issued within the last ten years or so. Of course, when I try to find the specific examples that I thought were pretty bad, I can't narrow them down when they're playing in the background while working. However, if anyone has CDs from Evanescence or Mylène Farmer, they are probably two of the worst offenders, at least in my personal collection.

    I'd be interested, if anyone who happens to have access to CDs from those artists, if they could corroborate my hypothesis that they have compressed them to the point of severe distortion, or that they are mastered so hot that they are distorting. For a point of reference, Evanescence's "The Open Door" and "Fallen" have "official" DR values of 6 and 7, respectively. No songs have peak values of zero or greater dB. On the other hand, the majority of the songs on Mylène's "Interstellaires" have peak loudness values >0! In contrast, an original 1985 release of Dire Straits' "Brothers in Arms", which I think sounds exceptional, has an "official" DR value of 16, yet three of the nine songs have peak values >0.
  6. ntbm3

    Being in a large global corporation that has lost it's way and taking unknown amount of management/leadership training that espouses vanilla advice . I think this chapter hits it on the head!

    Not only applying to business in general but life... who you are as a person and why you do it.

    Well done!
    RCBinTN likes this.
  7. bagwell359
    My mother always said get an education, work hard, save money - and then you'll be safe

    My father always said get ahead, stomp those beneath you, try and work your way above your station.

    My brother said, F it - move to Maui, grow Thai Stick and eat pineapples off the plant.

    I'm attracted to the zero, think I know where/what it is for me, but chores (kids, wife, cooking, sleeping, etc.) seem to interrupt often. All I know is I don't cheat anyone or anything in my life of time or effort - unless it's my zero.

    Yogananda said gaining enlightment isn't tested by the lone ascetic - but by the person beset with duties and responsibilities in the real world (pardon the severe mangling of his words). One day I hope we'll all find that sweet spot.
    Matro5, RCBinTN and US Blues like this.
  8. bagwell359
    Small bass drivers vs big?

    I could always listen to a Rogers LS35A on cuts I know well, and let that memory fill in the bass. Probably why a lot of subless planars didn't disturb me. That Gradient woofer the one used for Quads and ML CLS's, that's a fine very quick producer of bass. Probably not enough volume to satisfy folks used to horns, but certainly enough for the lower efficiency high end crowd.

    My current speakers give pretty loud clean bass (to me, since I don't listen with peaks over 94 db at my ear ever, and usually 88 or so) to about 48 Hz (two 7" and a port), and my HE-500's can give a decent account of itself at 30 Hz. Less so with the rear screens off.

    I haven't heard any compression drivers in some years... but if Joni Mitchell seems to have a head cold, or be 20' wide - not for me.

    Problem with a big say 15" woofer with a cabinet is that if its a pair and the rest of the speaker is physically attached to it, it's a heck of chunk of the front of the listening stage to give over, big baffles are tough to hide. If its a single sub loaded into the best spot in the room for flat bass and the Q is .707 or under - congrats, that's a heck of a woofer. But if its some BIC 5 wannabe with a Q over .9 - then our tastes are far apart.
    yonson and US Blues like this.
  9. yrun26
    As a small business owner, I totally can relate to this entire chapter!
    sam6550a likes this.
  10. artur9
    That POV is a relatively recent phenomenon started by Milton Freidman (late '60s, 70s). It's led to the horrible situation we're in now where people are talking about the death of capitalism.

    Also, is this an endorsement of Poppy? Never having seen that before I found it/her/them quite edgy, in the theatrical sense.
    FrivolsListener likes this.
  11. Xcalibur255
    Jason has his philosopher's hat on today. :)

    It's really, truly a shame that we can't all work for people like Jason and places like Schiit. Reading chapters like this makes it so hard for me to ignore how utterly soul crushing my job is.

    Trouble is I'm one of those people whose zeroth things don't intersect with value in any way. At least not from any way I know how to see it.
    FrivolsListener, RCBinTN and Byronb like this.
  12. White Noise
    Unfortunately, I don't own much in the way of commercial music anymore. I have very little listening time and when I do have free time, I have to protect my ears, so not much listening for fun even then. I miss it, but then I also get to make my music and impart some of my vision on other people's, so I guess that's the tradeoff. In regards to the values over zero on some of your recordings, that can vary a bit from meter to meter. I can actually get different measures of loudness and dynamic range even from different meters by the same manufacturer (Youlean loudness meter 1.0 vs 2.0). And, mind you, those are supposed to be calibrated to the same EBU standard by default. The meters in a mastering studio could be calibrated slightly differently and to a different standard than the meter you use to measure loudness. My guess is a mastering house wouldn't be using software at the output like you and I do, but that they'd have actual hardwired meters at various points in the signal flow. That's not to say it's better or worse, just that it's different and, I have to assume, close enough to not cause any major harm. In fact, I've heard from more than one pro that they don't like to put a limiter at the end of the signal chain to catch the odd peak here and there (because limiters or clippers will distort, no matter what the manufacturer tries to tell you). Rather, they just let the signal clip in their A/D converter (a little bit here and there, not 3 db every time the kick drum hits). So, it could come down to what converter the mastering studio used.

    As for your albums, I'd say it was very likely they were compressed both during mix and master specifically for coloration. I can't tell you how many studio processors and effects there are just to add "color" or "life" to a sound (and how many more do something else and offer the color as an option), and how easy it is to overdo that stuff when you get your hands on it in a studio. The reality is stuff doesn't need to be compressed like it was during the loudness wars anymore because there are broadcast limits on radio and most major streaming services and they will actually turn your track down if you come in over their target (look up LUFS if you want to know more), and multiband limiters these days are starting to be tuned to be able to clamp down on the music in such a way that I can't really hear the distortion, just the lack of dynamics (not that you have to use them much on account of LUFS regulations). If you hear that stuff now, it's (more than likely) because somebody on the production wanted it to sound that way. For Evanescence in 2006, not so much, but now, it's a choice that some artists are going to make because they were inspired by Evanescence when they were younger.
    artur9 and audio philestine like this.
  13. sam6550a
    I am waiting anxiously for a chapter about the "Customer Service Adventures and Safaris". It should be a best seller.
  14. sam6550a
    The best analysis software I have found for digital files is Musicscope https://www.xivero.com/musicscope/ which is easy to use and will provide more information than you could possibly absorb [at least what I am capable of absorbing]. It is reasonably priced, and will analyze all if your individual files, and create graphical or text report on each. The developer [in Germany] is helpful and responds rapidly to any inquiries. As they say down under, 'check it out'.
  15. GumbyDammit223
    Thinking about it now and considering the style of the music, I guess it wouldn't surprise me if it was intentional seeing as they are both pop flavors, albeit not of the variety of the more popular stuff today. And for clarification, I'm using both variants of the MAAT DROffline programs. The DROffline MkII definitely has a lot of measurement capability. Don't know if that makes it any better or worse.

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