This seems just silly. FLAC, ALAC, WAV, and other codecs already allow perfect reconstructions of a sound file’s waveform. Furthermore, ABX testing of lossless audio codecs has repeatedly shown that at about 250kbps, using modern encoders, people cannot tell the difference between a song that is perfectly translated through FLAC and the same song in compressed MP3.
The real issue (or at least the most relevant one today) is that studios brickwall their recordings so that songs sound louder, since consumers have been shown to prefer louder songs over quieter ones. However, doing this introduces large amounts of distortion whenever the volume “ceiling” of the digital format is crossed. Often, remasters of older albums take masters that never hit the ceiling and brickwall them to fit the supposed market preference for loud and undynamic music.
http://www.youtube.com/watch?v=6Nfqpr3ygSg (skip to some point in the middle of the video)
These are gross alterations of musical fidelity that consumers cannot “fix” with lossless codecs or expensive headphones. Once someone has made a modest investment into a decent soundsystem, the biggest obstacle to hearing realistic and natural-sounding music will be the choices of studio engineers.
It has to be God Only Knows.
Swans – The Seer
I have to say that there’s alwats been a special place for Revolver for me.
1. Kid A
2. OK Computer
3. In Rainbows
4. The Bends
8001. Pablo Honey
But seriously, all subjectivity aside, placing In Rainbows so low and Pablo Honey as anything but Radiohead’s worst album is nothing but a transparent attempt at comment-baiting.
“You Can Call Me Al.”
My border collie’s really partial to their first record.
Flight of the Conchords – Robots
The Wizard of Oz.