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FloridaPilot

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About FloridaPilot

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  • Birthday 06/24/71
  1. Has anyone else seen this? I ordered this on eBay and just received it. It is a boxed set of all 4 EC Arista records solo CD's. Each CD is in a LP-like sleeve and album cover that looks just like a miniature version of the vinyl jacket and includes lyric sheets. The box that holds all 4 is styled after the first solo record's cover. There are several bonus tracks including live performances.
  2. Brad Delp Tribute concert

    Tom Scholz just posted the below on his Website, and it pretty accurately sums up the night. He also explains the amazing story of how the unknown Boston fan wound up singing onstage and pulling off 2 great Brad Delp renditions: ================================================= WHAT A NIGHT!!!!!!! WOW, I don't know where to begin, this was the most incredible experience I've had with BOSTON ever. The energy at the soundcheck that morning was amazing, as it had been for days, ever since people started arriving in Boston for our part of Brad's tribute. As soon as Michael Sweet arrived for rehearsal on Wednesday I felt that good things were going to happen. This busy, talented guy had dropped everything to help us out, and his enthusiasm and natural good will set the tone for the next five days. Everyone who took part from that point on was overflowing with positive energy; we were all so glad to see each other. I don't mean just the old friends, but rivals, even those of us from opposite sides of lawsuits, suddenly all seemed forgotten, meaningless, so obviously trivial, not because of our common loss, but because we were just genuinely happy to see each other again and exchange some real embraces. Some of the high points for me personally were: Seeing Fran Sheehan, beaming, the way I remembered him 25 years ago before the CBS lawsuit, jovial and effervescent as he grabbed my hand for the first time in all those years. Doug Huffman all the way from Oregon, smiling from ear to ear with his sweet wife; I don't think Doug stopped smiling from the day he got in till the last I saw him after the show. I bet he's still grinning. David Sikes with his whole family, all the nicest people, all the way from northern California (and he still knows the bass parts better than I do!). Fran Cosmo the way I remember him from our days in the 90's, full of life, laughing, radiating with the joy of being part of it, ready to shred some power chords with me. Curly Smith all the way from Arizona to sing for us at the front of the stage for once! Jim Masdea all the way 23 hours, from CHINA!!!, not just to play a song, the journey was for so much more; I know he felt all the same things I did. The moment we saw each other we were once again the closest of friends just like we were 35 years ago when we were jamming in his basement on "Foreplay." I couldn't believe how much I had missed these people. I caught Barry's eye at sound check from his old spot at the other end of the stage and got that familiar smile as he ripped through the opening lead to "Don't Look Back," instantly I was back in 1978 looking across the stage at my old friend. Six months ago, could anyone imagine anything that could have caused this to happen? I think Brad would agree this was the best legacy he could have left. Maybe it wasn't divine intervention, maybe it was just Brad intervention; maybe it was all of us finally catching on to what Brad was all about. Gary, Kimberley, and Jeff all felt the same, automatically helping the others fit into our set and our space. This was not just cooperation or "getting along;" the feelings were so positive it was a genuine instant camaraderie between people who had, in many cases, never met before. But the most amazing thing happened near the end of sound check. We had been plagued by equipment problems and miscabled gear for an hour. But finally, I was able to play the first few chords of "Don't Look Back" for Barry to get a level balance for his opening lead, and within seconds I began to hear everyone joining in to sing and play the song. First Gary joined me on the rhythm chords, then Jeff and Dave Sikes, and soon Fran Sheehan, with Kimmy starting the vocals, then suddenly Fran Cosmo appeared next to me for the power chords we had done together hundreds of times, and as I looked across the stage everyone was up there singing and playing the song like we had been doing it all together for years. I mean, this was the kind of thing you'd see at the end of a sappy movie and say to yourself, "yeah, that's nice, but that would never really happen!" Well, it did, and I'm still pinching myself. At show time, the program was behind schedule, and there was not an extra second to spare. As I hear Carter Allen announce "...BOSTON," I look to my left to see Michael Sweet desperately trying to get sound from his guitar and a swarm of tech's feverishly pulling plugs in and out of his pedal board. If this had been a normal BOSTON show we would have just begged a little extra time from the audience, and fixed the problem. But tonight, I knew we had to start if we were going to get to "Don't Look Back" before they pulled the plug on us. Michael's guitar rig was out for the first half of the set, and he had to deal with tech's fiddling with the pedal board at this feet while he tried to get to his mic to sing the opening songs. With incredible cool he got through his songs in spite of it all, finally chucking the guitar all together for "More Than a Feeling." His guitar playing and singing had been so good in rehearsal just the day before that both Gary and I spontaneously stopped to tell Michael that these songs had never sounded so good live as they did now with him playing. Unfortunately, no one other than us has gotten to hear that, yet. There were massive sound and equipment problems on stage for most of the set, but somehow, it just didn't matter. It didn't dampen anyone's enthusiasm; it didn't bother anyone in the audience; unbelievably, it didn't even bother me! The night was magical, or maybe just blessed, I don't know. Especially when it came time for me to speak near the end. Basically, I don't do public speaking. So as I expected, when I stepped up to the mic my mind simply went blank. There was a TelePrompter on the floor with some notes I had made, but I couldn't quite read it. Somehow the thoughts came to me at the right time from nowhere. Never happened before, will never happen again! It seems like there was a lot of divine intervention going on that night, and maybe all week long. Like for instance Michael Sweet out of the blue offering to interrupt two recording projects to fill in for Brad at what had to be an impossibly busy time for him. He drove back and forth through Cape Cod traffic to rehearse with us for days. His filling in for Brad really saved us, he was literally a God send. And then there was the fan from North Carolina blindly sending us a link to a page which played a recording for us of him singing a BOSTON song, exactly like Brad, even down to the slightest tonal changes and inflections. And unbelievably this miracle singer turns out to be just a nice, regular guy, who gets on a plane to Boston, climbs on stage with a band he's just met, and blows everybody's mind! Didn't even get a sound check! Now that you've heard Tommy DeCarlo, did anybody miss Mickey Thomas? Now I have to start on thank you's to the dozens of people that made it possible for us to pull this off, starting with my wife, Kim, who was behind anything that I managed to accomplish, and the only reason I made it through the last three weeks, then all the numerous Boston members who put in their time, the guest singers who lent a hand, the dozens of people in the crew and behind the scenes who held our effort together, the fans who put on and attended the pre show fundraiser for the DTS Charitable Foundation, especially Bill, Melissa, and George, and also Ernie Boch Jr., sprang for the video coverage they put up on the jumbotron! But especially I have to thank all those people who stayed late and stood for the entire set! No band has ever been treated so well; thank you all! I'm still stunned by the unprecedented outpouring of honest to God love that I've witnessed over the last few days; for me this gathering has given me new hope for the human spirit. Thanks Brad. Tom Scholz PS... While we were busy getting ready for this event, Jon Viscott took it upon himself to design and put up a website for the DTS Charitable Foundation (www.DTSCF.org) entirely on his own volition, without charge. Thank you so much Jon, and please forgive me for being a little late with that thank you!
  3. Brad Delp Tribute concert

    I have all 3 RTZ albums. I still like a few tracks, but much of it sounds dated. The Delp/Goudreau album from a few years ago is very listenable, and probably my favorite non-Boston Delp recording. The Barry Goudreau 1980 solo record was laughable at times in terms of songwriting and production, but "Mean Woman Blues" is a good, funny song that has stood the test of time for me, with classic Delp vocals reminiscent of the Boston debut. Worth buying the CD reissue for. "Dreams" off of that record could've been a hit with a few more changes and thicker production.
  4. Brad Delp Tribute concert

    Actually, A Man I'll Never Be was a single, and charted in the top 40. Excellent song. Gary Cherone sang part of the song acapella Sunday night with the guitar player (what was extreme's guitar player's name?) playing keyboard. Along the lines of material beyond the singles, I think Third Stage was an excellent album and very underrated and underappreciated. It is interesting that back in the 80's, it sold twice as many copies as Don't Look Back had at the time- I believe I remember the figures as being 4 million to 2 million- yet now it is widely considered less of a classic than DLB. While there was some thin songwriting and some cheezy lyrics, I love that record from beginning to end. Can't say the same for anything Boston has done since.
  5. Microphones

    I don't like using headset mics because you have no control over dynamics and proximity effect like you do on a handheld. As in- if you are belting out a note, you can back off the mic, and you can blend yourself with the backing vocals during the chorus, for example. You can eat the mic on quiet notes also. Can't do any of the above with a headset. Also, proximity effect. Directional mics that reject sound from behind (audience, floor monitors) have a by product called proximity effect, which causes a pronounced increase in bass the closer you get to the mic. This can be used for technique- eat the mic on low notes at the bottom of your range- and can also be used to change the sound of your voice throughout the song. For a more distant, midrangey sound, back off the mic. I find that useful when belting out higher, sustained notes. I think these are pretty common techniques, and ones you can't use on a headset.
  6. Brad Delp Tribute concert

    Mickey Thomas cancelled a few days before the event, Sammy Hagar cancelled a couple weeks before. Reasons unknown. Anthony Cosmo was not in attendance (no loss if you ask me) presumably because Tom Scholz sued him earlier this year. Fran Cosmo was there, did not sing supposedly due to a mysterious blood vessel problem that developed in his vocal cords a couple of weeks ago. I find that weird but who knows. He was supposed to sing the last song with Boston, and his and Goudreau's 1984 band Orion the Hunter ("So You Ran") was supposed to play but were scrapped from the lineup a couple of weeks ago. Fran did play a couple of bit parts on the guitar and was introduced by Tom at the end, along with the other former Boston members.
  7. Brad Delp Tribute concert

    Just got home from Boston and the Delp tribute. As a lifelong huge Brad Delp fan, I had to go. It was an extremely well-done event, though bittersweet. The focus on celebrating his life and having fun in his honor was nice, and it was great to see the former band members and family members make peace with Tom Scholz at least for one night. Ernie and the Automatics opened (Goudreau and Hashian's band with an auto executive) and they were better than I had anticipated. Beatle Juice, Brad's tribute band for the last 10 years played next with a series of rotating guest vocalists. They were an excellent Fab Four cover band, and some of Brad's closest friends. Their emotional attachment to the event was evident in their playing. Longtime Boston friends and 1987 co-tourers Farrenheit played a good set, and Delp friends Extreme played their two hits and unveiled a brand-new ode to Delp entitled "Rock & Roll Man." Godsmack played an acoustic set- not sure of their connection to Brad. Throughout the night, Various members of Brad's family, including his son and daughter, fiancee, and ex-wife remembered Brad and introduced the various acts. Delp and Goudreau's early 90's band RTZ went on immediately before Boston, and played an excellent set. In fact, they were better than Boston on this night. Original keyboardist Brian Maes has an excellent voice, and pulled off remarkable renditions of Delp on RTZ's hits "Until Your Love Comes Back Around" (which he dedicated to Brad) and "Face the Music." Perhaps the night's most powerful and emotional moment came when RTZ played a brand-new power ballad tribute song to Brad entitled "Set the Songbird Free." While not the greatest song, The performance was the most intense of the night, with Barry Goudreau fighting back tears while playing a soaring guitar lead. Another poignant highlight was daughter Jenna Delp screening a 15 minute film about her father on the Jumbotron entitled "The Rock Star I Called Dad" which contained interviews with friends and family, home movies, and focused on the man, not the rock star. Boston closed the show with an hour-long set featuring all current and former members of Boston, including studio and touring lineups, except Sib Hashian. Various vocalists rotated leads, including Michael Sweet of Stryper, Charlie Farren of Farrenheit, bassist Kimberly Dahme, and former Boston touring band member Curly Smith. In an unusual and heartwarming move, Tom Scholz mentioned Brad's everlasting devotion to his fans, and in that spirit invited a Boston fan on stage to sing "Smokin'" and "Party." Somehow word had travelled about this local novice who could sing Boston songs convincingly. The chunky everyman was surprisingly capable of hitting Delp's high notes and covering the range with ease. While lacking the technical precision of top professional singers, he was pretty good and caused quite a buzz. In fact, his was the best Delp impersonation I have heard did the best justice to Brad of all the singers that night. A couple of folks onstage had mentioned that they could feel Brad's presence there with us, and if he was there I'm sure he was happy to see one of his fans living a dream. While Boston's set focused on the upbeat parts of their catalog in keeping with the the evening's theme of having fun as Brad would have wanted, Boston's set had an unintentional profound effect. They were tuned way down, at least a couple of keys I am guessing, to the point where it often took several extra bars to recognize their songs, and it sounded like mud soup. Even tuned down, great singers like Michael Sweet, Curly Smith, and even Kimberley Dahme were straining hard to sing Brad's songs. For the most part, Boston did not sound good performance-wise. Though that was understood and did not matter- this event was in the spirit of celebrating the man- it amplified the sense of loss and really made it hit home hard. I had expected a dozen backup vocalists and a committee of top-notch lead singers to be able to pull it off, but nobody could come close to touching Brad Delp. The void was profound. On a lighter note, sitting right in front of me was Hybrid Ice guitarist Rusty Foulke who wrote "Magdalene" on Boston's "Walk On" album. A very nice guy who happened to have penned the best song on that otherwise disappointing record. Somehow the loss of Brad Delp has had a big effect on me. I am thankful that Brad's family and former bandmates made this event happen.
  8. Technical Question About "Sunset Strip"

    Hi Jeff, Perhaps we'll have another chance if the berries tour again in support of LOSS. Thanks again for the after-party in Chicago, by the way! Hope all is well with you. MAM- I agree with you about Hourglass- one of JT's best, and definitely the best in 20 years. I think much of that record was recorded on ADATs in a small project studio. I think there are a few albums that make the most of the 16-bit digital format, and Hourglass is definitely one of them.
  9. The Raspberries Overrated?

    I'd like to send that reviewer a copy of Toby Keith's "The Critic" from the Shock'N Y'all album. It's a very funny, biting, and accurate portrayal of idiot music reviewers with no talent themselves who only begin to get attention when they take cheap shots for ratings.
  10. Technical Question About "Sunset Strip"

    I was thinking perhaps there might be other audiophiles on the board. In case anyone is interested, here is a bit of info on digital audio & compression, PCM versus dolby digital, what is wrong with CD and what is horribly wrong with mp3 and Dolby Digital surround. PCM is uncompressed digital sound, like what is on a CD. The basic resolution of digital sound is determined by 2 things- Quantization and Sampling Rate. This can be explained using a movie film analogy. Movies in the theater are typically 24 frames per second, on 35mm film prints. The "frames per second" is analogous to sampling rate, and the resolution of each individual 35mm frame is analogous to quantization. With film, increasing the frame rate increases the smoothness, or the illusion of fluid motion, whereas increasing the film to 70mm (like IMAX) would increase the resolution, or detail, in each frame. In digital audio, Quantization is the resolution of each sample, or frame, of audio. Sampling rate, or the number of frames (samples) per second, determines the highest pitch that can be recorded. In audio, pitch is called frequency, or how frequently (in cycles per second) the air vibrates. The human ear can hear from about 20 vibrations per second to about 20,000 vibrations (or cycles) per second. Cycles per second are called "Hertz" or Hz. So, the range of human hearing is about 20Hz to 20kHz. Here's how sampling rate determines the highest pitch that can be recorded digitally. The Nyquist Theorem states that the sampling rate must be at least twice the frequency as the highest pitch you want to record. Quite simply, this is because it takes a minimun of 2 points to determine one cycle of sound- the top and the bottom point. If you drew one cycle of a sine wave, you could represent it with two points- the top and the bottom. You could connect the dots to draw the wave (although it would come out a triangle wave- more on that later.) So, if you wanted to create a digital audio format capable of reproducing the entire pitch range of human hearing, you would need a sampling rate of at least 40,000Hz- the 20,000Hz limit of human hearing times two. Therefore, CD sampling rate is 44,100 Hz. The extra 4100 Hz is necessary for filtering to prevent aliasing. Aliasing in film is the "wagonwheel effect" where a wagon is moving forward but the wheel appears to be moving backward. This is an artifact of where the wheel was when that particular frame of film was captured. If the film frame rate were increased beyond 24 frames per second, the wagonwheel effect could be eliminated up to a certain wagon speed. In digital audio, aliasing creates phantom tones at lower pitches, called "foldover" frequencies, whenever any frequency above the sampling rate is sampled. So, in reality, sampling rate must be higher than the Nyquist frequency to allow room to filter out any frequencies above the sampling rate. That is why CD is 44,100 instead of 40,000 sampling rate. CD Quantization is 16 bits. This is analogous to the resolution of a still image, or one frame of film. So, CD audio consists of one 16-bit sample (frame of audio) 44,100 times per second. Therefore, CD "bitrate" is 1,411,200 bits per second, or 1400 kbps (thousand bits per second). This is determined by multiplying 16 bits times 44100 samples per second, and multiplying the total by 2 (left, right). The bitrate of digital audio indicates the resolution of the audio. Higher bitrate = better sound and larger file size. THE BIGGEST PROBLEMS WITH CD 16 bits does not provide adequate resolution. There is a notable difference between 16 bit sound and 20 or 24 bit sound. Each added bit doubles the resolution of each sample. So, 20-bit digital audio has 16 times the resolution per sample as 16-bit audio. That would be like taking the 35mm film print and expanding it to 16 times the area- way bigger than even an Imax print. CD was designed only to be a mid-fi product, but was marketed as the greatest thing since the advent of recorded sound. 16 bits provide 65,536 different values. when the actual original sound falls between two of these values (which happens all the time in digital audio) ,it gets assigned the closest one. This is called quantization distortion and is very audible at 16 bits. This is similar to "pixellation" effects in low-resolution digital images. Sampling rate is way too low. In reality, sound well above the range of human hearing should be recorded for true high-fidelity. Why record sound that the human ear can't hear anyway? The answer is that frequencies above our range of hearing affect the tonal characteristics of the frequencies we CAN hear. Harmonics (higher-frequency overtones) are what makes a G note played on a piano sound different from a G played on guitar. Harmonics give a tone its distinctive sound. If you have ever played with an old analog synthesizer, you can set the wave shape of a tone (square, sine, triangle, sawtooth, etc.) for a given note, each of these wave shapes sound notably different. This is exactly the effect that ultrasonic harmonics have on sounds at the upper limits of human hearing. The inaudible harmonics modulate the audible wave and change the tonal characteristics of the upper end of the audible spectrum. Also, the anti-aliasing filtering mentioned above takes place too close to the audible spectrum in CD-audio. A by-product of this filtering is the "rounding" off of the higher frequencies of the audible spectrum to sine waves. Because the sampling rate is bare-minimum, only triangle waves can be represented at 20Khz anyway. For these reasons, on CD the uppermost sounds of the audible spectrum are shaped like sine waves, regardless of what waveform the actual original sound had. These reasons are why many audiophiles say CD's sound, metallic, harsh, mechanical, etc. The entire upper range is distorted timbrally. These problems with CD really are quite audible to most people given listening experience. If you have ever been in a modern recording studio, and you are listening to the two-track analog master reel tape of your band's performance, and then you burn it to CD, there is a notable difference in the sound no matter what CD Recorder you use. Newer audio formats, such as SACD (super audio CD) or ProTools used in many recording studios sample at 192khz and have 24-bit audio. This sounds much closer to analog reel tape than CD. There are other problems with CD, but these are the two biggest. Another problem is the recording techniques used to get the best sound out of CD. CD sound too in-your-face and this is the result of dynamic range compression in the studio. This has no relation to digital audio compression. Dynamic Range compression reduces the difference between the loudest portion of a signal and the softest. As stated above, the 65536 resolution points provided by sixteen bits ain't enough. Compounding the problem is that the lower the volume level of a signal (either the entire mix, or an individual instrument in a digitally tracked recording), the less of those 65,535 bits are available. The full 65536 are available only at the highest possible recording level. So, the lower the volume level of an instrument or overall mix, the higher the quantization distortion. On the flipside, with digital audio, the 0db recording level (the highest possible recording level and where quant distortion is the lowest) is a brick wall. If the signal exceeds 0db by one iota, you hit a brickwall of distortion because you have run out of bits with which to represent the signal. With analog tape, exceeding 0db caused tape saturation, which is a very pleasing effect to a point. So, digital recording engineers or mastering engineers typically compress the shit out of everything so that the lowest volume levels are still pretty high where quantization is reduced, but that the signal never exceeds 0db. This causes CD's to be too in-your-face, unnatural and fatiguing to the ear after a while. COMPRESSED AUDIO CD-bitrate files are very large. One way to reduce the file size would be to lower quantization, but when you go down to 8 bits things start sounding pretty horrible. You could also reduce the sampling rate, but then the highest frequency you can record goes down and your treble range disappears. By the time you substantially reduce file size, you wind up with something that sounds like a telephone or AM radio. Digital Audio Compression was designed to reduce the file size while still being able to record higher pitch sounds and still having reasonable (!?) resolution per sample. Mathematically lossless compression is identical to the original with no loss. However, lossless compression only about halves the bitrate. So, if you are listening to digital audio at a bitrate below about 700 kbps, there is a difference. Lossy compression formats such as Dolby Digital, MPEG Audio, mp3, etc. are way below this level, do NOT sound as good as the original, and are NOT CD quality regardless of what the manufacturers tell you. Generally speaking, with digital audio compression, sampling rate and quantization are not altered. Instead, psychoacoustic principles are applied to permanently throw away bits of the audio. This is why i say it should be called "data REDUCTION" instead of data compression. There are a few ideosynchrasies of the human ear that are exploited. threshold of human hearing. Sounds below a certain volume level are not perceived an can be thrown away. The threshold of human hearing also varies with pitch and volume. At lower volume levels, we percieve the bass and treble less. That is why old stereos used to have a "loudness" button, which was short for "loudness contour compensation". A true loudness circuit would boost bass and treble at lower volumes, and gradually decrease the boost as the volume was raised. This allowed the human ear to hear a balanced signal at low volume. Lossy compression algorithms use this threshold of hearing curve to throw away audio depending on their relative volume and frequency. HAAS effect. In a nutshell, if you hear the same sound twice with just a few milliseconds between them, the brain does not percieve the second sound. This is why older Dolby "Pro-Logic" surround receivers had a digital delay feature. The purpose was to eliminate the perception of center channel dialogue leakage into the rear speakers. It was there, but if you set the delay right you couldn't hear it. Compression algorithms will look for patterns in the audio that resemble this (are within the HAAS range) and omit sounds accordingly. Masking. In human hearing, louder sounds mask softer sounds. If you are standing on the sidewalk of a busy intersection with horns honking, engines running, etc., and someone is talking across the street, you can't hear it even though those sound vibrations are hitting your eardrum. Compression algorithms delete quieter sounds at the same or similar frequency as a louder sound. Dynamic bit allocation. For example, if there is alot of activity going on in the midrange of a song (a screaming Wally Bryson guitar solo, for example) more available bits would be allocated to the midrange, and less to the treble. It is harder to perceive detail in bass frequencies, so the bass is usually always given less bits than the rest of the spectrum, and the amount varies from one compression format to another. Some formats (like early versions of Sony's ATRAC compression) gave very few bits to the bass, and the bottom end lacks impact. Brickwall filtering. Often times, especially at lower bitrates, the upper octaves of the audible spectrum are deleted altogether. Frequencies high enough to give some degree of crispness are retained, but everything above is gone resulting in a constrained, coarse sound with a complete lack of space, soundstage and airiness. It is theoretically possible to use these techniques (except the fifth) to imperceptibly reduce file size, the problems are twofold. One, creating the perfect algorithm is like finding the exact value of pi. Two, even if that could be done, the maximum about of reduction possible would be a little over half, or down to around 400 or 500 kbps. MP3s, etc are WAY lower than this. The average MP3 file is encoded at 128 kbps, which is often represented as "CD Quality" when in fact over 90% of the audio from the CD has been discarded.. The other thing to know is that some compression algorithms are much better than others. MP3 is among the worst. At a given bitrate, WMA sounds about twice as good. So, when you listen to compressed audio like mp3, you are not getting close to CD quality, and even CD is a mediocre format. Satellite Radio (both XM and Sirius) compress down to around 50kbps- so frikkin bad it is like fingers down the blackboard and I can't believe anybody can stand it. DOLBY DIGITAL Also known as AC-3 for Audio Compression type 3. This is the gadawful format chosen as standard for DVD. It is a low-bitrate lossy compression format. It allocates around 320 (don't recall exact #, but it is in the 300's) kbps total for ALL FIVE Channels plus the subwoofer channel! So less that 20% of the bit rate of CD has to cover 5.1 channels! Not only do each of the channels in and of themselves sound dull because of this, but if you actually read Dolby Labs whitepapers on the format, part of the compression involves blending high frequencies together in the surround channels! So, what is supposed to be 5.1 discrete (separate) channels really isn't. Blending the high frequencies of separate channels gives Dolby Digital a major lack of space- it sounds constrained and lifeless. For this reason, people that care about the listener will give a PCM (uncompressed CD-quality stereo) track on music DVDs, as Mr. Linett has done for us. On "Live on Sunset Strip" choosing "Stereo" in the audio setup menu selects the PCM audio track. DTS. You may have seen DTS on some DVD's. This is a competing format that was actually the first multichannel digital sound format for theaters. First film was Jurassic Park. DTS is a much higher bitrate than Dolby Digital- about 1200 kbps. This is still lossy compression, but sounds MUCH better than DD. Unfortunately the DVD consortium chose the crappier format as the standard. I have a beef with the misinformation peddled by electronics manufacturers today. First they told us CD was the best possible sound, when even 25 years ago that wasn't true. Then they told us that MP3 at 128 kbps is CD Quality, which is a laugher. They told Dolby Digital is 5.1 discrete channels, which isn't quite true. Now they're peddling HD Radio, which is an absolute LIE. HD radio is very-low-bitrate compressed digital audio. There is nothing "High Definition" about it. In fact, if definition and detail are roughly synonymous in this context, HD Radio is much lower definition than analog FM. If you were still able to find a broadcast FM station that wasn't playing its music from compressed digital sources, with a quality tuner and a well-engineered station you would find the sound to be extremely good. The noise floor may be lower with HD radio because it is digital, but it is very LOW definition. If they called it LN Radio (low noise radio) I still wouldn't want anything to do with it but at least they'd be being honest. I'm tired of these companies peddling crap at us and bullsh--ing us into thinking it's great. There's my .02 Mark- I'm curious, are you an analog advocate or a digital believer? My opinion is I think 24-bit, 192 KHz digital sounds pretty good through a good D/A, but to me nothing touches the sound of 2" analog tape.
  11. Live On Sunset Strip!

    I have to get up and go to work in a few hours and here I am watching it again. I told myself I'd just watch a couple songs but here I am an hour later and I can't make myself go to bed!
  12. Live On Sunset Strip!

    I found one Easter egg. Nice to know Wally "listens" to VH1. Bernie, are there others?
  13. Technical Question About "Sunset Strip"

    I just noticed something interesting... on the DVD there is a big difference in sound quality between the PCM stereo tracks and the AC3 surround track. Up until now, I had listened only to the surround track and I thought it could have been better. But I just started watching it again from the stereo track and there is much more presence to the entire mix. I can a-b the two tracks at the touch of a button with my DVD player. What I am hearing is more than the inherent difference between uncompressed PCM and highly compressed Dolby Digital. I recommend that anyone who has only listened to the surround version to try it in stereo. I am listening through a Yamaha DTS-ES/Dolby Digital-EX preamp/processor, a rack of ADCOM GFA-5500 amps running Martin Logan Aerius i front and rear and the ML Center, and an SAE 7600 running a dbx dvc sub.
  14. 'Raspberries Live' Flyer?

    Hello Ted, I most certainly had not! Great to be back. Hope you are doing well. I was wondering how you were after last year's events. -Jason
  15. Technical Question About "Sunset Strip"

    Mark, Thanks for the info!
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