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Re: Nice story. Mine goes like this:

Hi Clark

Wow, cool story, I never got to talk to him let alone one on one.
You can imagine why I was concerned about us being asked to leave, Dr. Heyser was not the most verbal or colorful speaker at the table.

On the CD, compared to what there was to record with before ones and zero’s, there is no question that it was better than all but the most expensive tape decks.
On the other hand, it was not something that was badly needed at the time and was foisted on us mostly because it offered a new line of stuff to buy.
In an effort to differentiate itself from the LP, CD’s were traditionally hotter up high to show off the difference

Also, like any new product, the point is to sell it and that does not involve talking about its weaknesses.
Personally, I would like to see 24/96 recordings as standard, there is something that is gone compared to 16/44.8 but the die is cast.
Now we have to wait until they decide what we need to buy next.
Sadly the music industry in its on going effort to cater to the least common denominator and gobble itself into obsolescence has become textbook big business.
While on the outside they cry “downloaders” are the problem, inside reports say the real problem is there are fewer and fewer bands people want to buy.
In my industry, there are fewer and fewer concerts because there are so many fewer record companies who are promoting fewer bands. Fewer chances are taken by big companies and so, there is less to listen to with more money riding on each recording.

Now, most pop recordings are tricked out to the max, made using the last few dB of a CD range in order to sound “loud”, effectively fully defeating the advantage of CD’s but allowing for efficient smashing into those “superior sounding” MP-3’s.
The idea of realistic sound is not even considered, as that isn’t anything like what a “hit” sounds like.

Polarity, well something’s like Drum hits and fireworks are asymmetrical and when a fireworks report goes off, it blows, not sucks..
Best,
Tom

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