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I took a bit of advice -- trying to see if people might agree about the possibility (I say probablility -- give opinons). Sometimes the decoding can sound okay, likewise sometimes undecoded (with EQ) can sound okay. Things to look for: HF compression improvement, Stereo depth/ambiance (fullness) Problems with DolbyA decoding: choosing the correct calibration and corrective EQ. I tried to do my best on the examples. Problems with decoding unencoded material: serious surging. really/dead highend (sometimes), but crazy/extreme sibilance. Problem with undecoded: sometimes hiss, sometimes a little strident high end, HF compression I am using slightly long snippets (still under 1 minute), if I get complaints -- I can shorten them or segment them if needed. They are mp3, but the Dropbox player sometimes gives 'phasing' sounds -- I make them mp3 for quick online evaluation, flac available if desired. First example, Bread -- Audio Fidelity AFZ5 197 This album is in question. This is a *difficult* choice!!! I don't even know for sure. I have also included the 'before' decoding. https://www.dropbox.com/sh/fopp4ll0ua6hrue/AABm-3EVloApEihtnBV29rf9a?dl=0

Not the format. Discuss - with these websites in mind: http://no-more-loudness-war.blogspot.com/2014/10/welcome-to-safe-haven-to-discuss-issues.html https://www.audiostream.com/content/high-resolution-downloads-nevermind and https://www.facebook.com/2016SaveOurMusicNoRemasters/

Can Bad Recordings/ masterings be fixed and made to sound good? Maybe a little creative EQ for each track? Decompression/Declipping? Maybe a better system does it for you (realizing the potential within) ? Color me warm with sonic sunglasses? This topic was inspired by posts in another thread some of which are quoted below to kick things off. -----------------------------------------------------------------------------

Peak Limiting but No Compression: How Much? Ok, I'm willing to sit at the table and discuss this loudness thing fairly. What if, in the name of lending a master a little more 'beef' for those listening on pocket devices or in noisy environments, peak limiting plus makeup gain, and peak only, at the mastering stage, and no dynamic range comp, were used to achieve the same result? 2dB of peak limiting, 4dB? 6? 8? I guess it would depend on the songs, and or genre, style of music, right? And this is in addition to any compression used at the mixing stage, or in session - just enough to even levels during laydown.

My father has 1000+ CDs spanning all genres and I have tasked myself with ripping them to a hard drive. I'm an audio engineer so I have a plan for format of conversion, though I am now considering PhileAudio because it could rip a lossless version and a compressed version from that, also may offer increased efficiency and multi-drive support. I have the following computers to rip with: PowerMac G5 (PowerPC, so likely iTunes rip) MacBook Pro Core2Duo MacBook Pro i7 iMac i5 Microsoft Surface i5 (if I decide to throw a PC in the mix) I have ordered one each of these extra drives to try in order to speed the process, was going to stick with brands I know but I went by Amazon rating barring any specific Mac incompatibility: LG Buffalo Coolead Samsung Looking to get a 4TB USB 3.0 and Firewire or Thunderbolt drive for lossless storage, should have enough space on the home computer for the compressed collection. My concept is to have some friends over who like music, bait them with booze and free music, and have a rip party. If anyone has any ideas for organization, workflow or anything else please let me know!

Maybe it's because of the business I'm in, but I define compression as fitting everything that is there into a smaller space. Zip files, Flac files etc., or as we call it lossless. MP3's and the like conflate data. They, arguably, with intelligence, throw out data to make the file smaller. So why aren't MP3 referred to as conflated ? Arguably, I could be considered one with little intelligence writing about such a trivial peve! Larry