Lockal djs dont get payed vol 2!!!

On 2008-04-17 13:52, uforica025 wrote:
I don't care if the music is downloaded, I just care that it sounds good, and that I like it...

On 2008-04-17 16:05, uforica025 wrote:

Quote:

NO guys THIS IS NOT TRUE!

A) When you download music from the internet at almost all times the tracks are in MP3 format and they can reach only 220 bit rate maximum.
B) When you buy an original cd the format is AUDIO and at almost all times the bit rate is 320.

There is huge difference in the quality of the sound between A & B , especialy when you play with professional cd players and especialy when you reach high volumes.

For example: I was listening a dj who was playig with mp3 and the sound was deformed. The dj was complaining about the sound system. After his set another dj played with oniriginal cds and the sound was just perfect. I thought that i was in a difrent place!!!

HUGE DIFFERENCE GUYS , BELIEVE ME!!!!!!!

On 2008-04-17 17:19, MOONSUN-RECORDS.gr wrote:
i dont think jedi that most are 320 there much lower
320 u can buy mostly from beatport but if u dl
from rapidshare emule or dc ++ most are low
i even found 96kb tracks on net
plus some times u see some tracks 320 but if u put them on soundforce or tractor there rate is different, net is mostly for listening tracks for my opinion a dj can listen & choose ,and then buy it original , thats my choice

On 2008-04-17 19:56, other_reality wrote:
I just think that downloading gives you the chance to really find and listen to what you actually like, and then go buy it.

On 2008-04-17 19:56, other_reality wrote:
I've seen the copied cd's in the cd wallets of numerous 3000 euro per night international top names.

Hear, hear

Depending on the number of concerts you've attended, your ears may be more or less healthy for your age. But even if they're in perfect shape, human hearing is constrained by a number of limitations. At best, tests have usually shown that we can hear frequencies in a range between 20 to 20,000Hz. Our ears are also most sensitive between 2KHz and 5KHz, and they can detect changes between frequencies in increments of 2Hz—that's the effective "resolution" of hearing. As the average person gets older or the delicate cells of the ear are damaged by loud noise, high-frequency perception is reduced. In fact, most adults (myself included) have trouble hearing above 16KHz.

And these are just the physical limitations of the human ear. Our brains also play a role in filtering and analyzing the signals sent by the auditory nerve. The science of how we perceive sound is called psychoacoustics, and it has discovered a number of useful auditory effects. For example, one of my favorites is the Haas effect, which states that two identical sounds arriving within 30-40ms of each other from different directions will be perceived as a single sound coming from the direction of the first. It's often used in public address systems to reinforce the sound "from the stage," even if the loudspeakers are located farther to the side. MP3, like many other lossy audio compression schemes, relies heavily on these kinds of psychoacoustic effects to work its magic. In particular, it exploits the phenomenon of frequency masking.

Imagine two sounds with similar frequency profiles—say at 100Hz and 110Hz—but with different volume levels. If played by itself, the weaker sound is perfectly audible, but only the stronger will be heard if both are played simultaneously. The process of covering one frequency with another close (but not identical) frequency is called "masking." The degree to which frequencies can mask each other varies across the range of human hearing—our ears are less precise at the top and bottom of the audible spectrum. Loud transient signals (ones with very short duration) can also mask weaker signals for a short time, similar to the Haas effect. This type of masking is known as "temporal" masking and is also used in MP3 compression.