Back in 1989 I started my own mastering business......working on the CD & DVD of Bad Company's Merchant's of Cool... We crafted a great sounding record and then sent it to the record company for approval. It was rejected 5 times because they claimed it wasn't loud enough. After repeated applications of increasingly harsh dynamics compression, they were happy. That's when I stopped being a mastering engineer....In 2000 I started AIX records... Our Tracks are recorded during a single session in a live reverberant hall... and left unprocessed... no overdubs, no EQ, no compressed dynamics and no artificial reverb.... Recently... When I listened to... CD tracks as mastered by a "Grammy-nominated" mastering engineer, I was shocked... lifeless, flat, and completely sterile... I called the manager and offered to remix the stereo tracks... I would only send an invoice if the client chose to replace the original tracks with mine... When the artist and manager heard the tracks I had remixed and didn't master, their jaws dropped. "How could we have spent so much money on a 'Grammy-nominated' engineer and gotten such harsh sound."
Did he publish any ABX logs?
QuoteDid he publish any ABX logs?I don't think ABX applies here.ABX is for discerning the same source for artifacts.You don't need an ABX when you have a brickwall record and a dynamic one.
ABX testing is for evidence of detecting differences, be they artifacts or the more heavenly pureness of $2500 interconnects.Essentially you are saying that your belief system has faith in the audible differences of "a brickwall record and a dynamic one," so it doesn't require evidence.
But well ... really?