Story by Shawn Perry
It’s almost becoming a cliché to say it, but a majority of the Millennials in the world today will never know the sound of good music. It has little to do with their musical choices (actually, it sort of does, but that’s another article), and more to do with the lack of quality sound reproduction from an MP3 file, the most popular audio format of the 21st century so far.
Because of their compact size and reduced data, MP3s are sonically inferior to the original recordings; gaps are noticeable to the trained and seasoned ear. The argument for MP3s is that they store easily on portable devices, making them more convenient to move around and share. This makes music more of a commodity, and less about entertainment or inspiration. And this begs the eternal question: Is music really all about ease and convenience? If you want to sit down, take some time and dig in for a deeper listening experience, MP3 files clearly miss the mark. Just don’t tell Apple.
If you follow the trial and tribulations of high-definition audio, you may know that guys like Neil Young have been making a lot of noise about it over the years. He’s recently been involved with the development of PonoMusic, which has created a device specifically for digital HD audio. Young claims the PonoPlayer plays back music at “CD quality or higher, the way the artist made it, exactly….”
So where does that leave CDs, DVDs, Blu-rays, tape and vinyl? Well, we can forget tape and put vinyl to the side for now. Audio DVDs seem to come and go with any given box set or reissue, while Pure Audio Blu-ray discs are gaining traction, both for high-fidelity stereo and 5.1 surround sound. Universal’s High Fidelity Pure Audio releases for 2014 include titles from the Velvet Underground, the Rolling Stones, Genesis and John Lennon. Each Blu-ray audio-only release also includes a download voucher to download an MP3 version of the album — which definitely removes the “High Fidelity Pure Audio” equation from the running. John Lennon’s Imagine
Then there are SACDs. I’ve had mixed results from 5.1 surround SACDs, but the remastered SACD hybrid stereo titles from the Rolling Stones, Bob Dylan, Peter Gabriel and Miles Davis most definitely upped the ante on quality. And just when you thought SACDs were about to die out, along comes Audio Fidelity rolling out a staggering number of hybrid SACDs remastered by prominent, award-winning mastering engineers like Steve Hoffman and Kevin Gray. Similarly packaged and fashioned after their best-selling 24 Karat Gold CD series, Audio Fidelity’s Hybrid SACDs are as about as close to the genuine article as you can expect.
I received a copy of Alice Cooper’s Billion Dollar Babies, and was astounded by the attention given to the original packaging and art design. Once the laser dropped and those gnarly guitars and thumping drums came booming out of my speakers, I wanted to see what else was for the taking. Many of the titles in Audio Fidelity’s catalog have not been reissued in any form, so it was great to re-discover albums like original Yes singer Jon Anderson’s first solo album, the mostly instrumental, new-age fantasy inspired Olias Of Sunhillow. Recorded in 1976, this is a record way ahead of its time.
Other cool Audio Fidelity SACDs include Heart’s much-maligned Magazine album (“Heartless” is the heart-pounding highlight) and the Butterfield Blues Band classic 1966 album East West, featuring the stellar (and sonically refined) guitar work of both Mike Bloomfield and Elvin Bishop. Two deeps Eric Clapton titles from the 80s — the guitarist’s 1985 comeback album Behind The Sun and 1989’s Journeyman — get a high-def remaster from Hoffman. Both were produced to 80s standards, right down to the gated Phil Collins’ drum sound, but feel and sound beefier. This is even more evident on the pair of 17-song Legends compilations.
Out of all the titles that showcase the superior sonic power of SACDs, the Legends collection, based on the original TimeLife LEGENDS series, may be the best way for hi-def beginners to sample the wares. Audio Fidelity’s first two titles, Crank It Up! and Get It On!, each contain 17 classic songs from the 60s, 70s and 80s, so you get a good idea of how far Hoffman is able to go in bringing up the specs and pushing the levels. Some how, he was able to make older tracks like the Troggs’ “Wild Thing” and the Rascals’ “Good Lovin’” sound as deep and profound as Phil Collins’ “In The Air Tonight, “ which packs enough bottom-end punch to knock out Mike Tyson (his favorite in The Hangover). Then there’s the crisp, syncopated beat of the Doobie Brothers’ “Listen To The Music” and the crunchy guitars on Bad Company’s “Can’t Get Enough” — this is what comes out booming out your speakers on these remastered tracks. Even a light pop hit like Ace’s “How Long” kicks ass on this set. They may resemble an FM playlist, but they don’t play back like FM radio or MP3s.
We know many people these days get what they want out of an iPod, cell phone or some other portable device. Discerning music lovers want more. The vinyl audiophiles love the warmth and rounded sounds of their LPs — they pay the high prices and ignore the other formats. A minor resurgence has kept the long player industry alive. A large contingency of mostly older people don’t care whether it’s a CD or an LP, so long as they have something to hold on to. And MP3s and other related digital formats are strictly about economy and convenience. This has left a unique opening for high-definition audio in the form of technologically compatible players and optical discs like Blu-rays and SACDs. All I can say is: Keep it coming.
