Why aren't all CDs created equally?


The best part of my system upgrade, over this past year, is listening to music and hearing things (differently) for the very first time. You guys know the deal. I don't have to go there. What kills me, however, maybe more so now, then before, is that poor CDs are still poor--their inherent weaknesses even more highlighted. It's hard for me to get past the inadequacies of many CDs and just try to get into the music. I guess, the problem is, that after listening to, ie. Patricia Barber's CDs (which highlight what I've been trying to capture in my system) contrasted to a ho hum recording (which there are, frightfully, more) takes the wind out of my sails. I've paid a lot of money (for me that is) for those extended airy highs and, you know the rest, but they're just not there regardless of the system on many poorly recorded CDs. You can't listen to what's not there. The guys in the recording studios can't have tin ears, can they? Don't they hear what I hear? Perhaps the mass market really doesn't give a shit. I just don't get it. It's very frustrating. For older (jazz particulary) recordings and the like, I'm much more tolerant (though still frustrated by the poor sound), but new stuff? Anybody else relate? Can you suggest a good audio shrink to help me let go of this problem? Thanks in advance, guys...warren
P.S. And another corallary problem: when I get a shitty recording, (say, purchased from Tower Records) they don't let you return them anymore, due to the burning in thing. You used to be able, even after months, with a receipt, to return CDs. I get Beth Ortons new CD home, (Daybreaker-want to check her out) can't stomach the first four tracks. It's over. Her voice is so shrilly sounding and the music poorly recorded ( to my taste) I might as well chuck the Cd in the garbage. I'll give her a try again, but it's still very frustrating not being able to return it for an exchange. Anybody know where I buy CDs and return them, after being played, for credit toward other purchases? Sorry for all this rambling...
128x128warrenh
Have you tried "treating" your discs? Here in England I use both REVEEL and RELEES together and have no problem even on a fairly revealing set-up (Krell KAV300/ARC LS8II/ Quad 405-2). Check out www.russandrews.com exclusively. The other thing is your CD Player output usually 2v. or more would be overloading your Pre-amp input sensitivity 300mv or worse at 120-150mv. Also discs have different recorded levels. Do you find you cannot make much use of your volume control? The answer is to use an attenuated cable - see the Site. I have no connection with this Company - just a satisfied customer. Russ and his crew are music lovers unlike recording engineers.
There is something to be said for having a well balanced system, where each component compliments the others. Maybe you should aim for a system that makes the largest percentage of your software sound the best.

I guess I don't go with the theory that the most revealing system is automatically the best. If it makes a large number of CD's sound terrible, then maybe it should be considered the worst system.

Even if you listen to vinyl, do you want a system so revealing that it clearly broadcasts every defect, and every microscopic spec of dirt or scratch on an LP? Not me.

I do agree that many CD's are engineered poorly; or are engineered to sound good played on a boom box. They sound terrible on a good system.
Great points guys. I understand much better, now. Now, to find those killer label/recordings. Thanks again. I'm at peace.... temporarily, that is..
Sugarbrie; good post. Poor digital recordings are a fact of life for reasons given above. My stereo system is all digital and the components/speakers are capable of high resolution, so to partially compensate for the many lousy recordings of otherwise good music, I've actually gone to the extent of "de-tuning" my system to some extent, ie I use only high quality copper speaker cables, ICs, AC outlets etc-- no silver; carefully chosen NOS tubes in pre-amp etc. Vibration contol or modification can also noticeably affect sonic character.

My bias is towards a slightly warm, rich sound-- even a bit dark and rolled off in the highs. All the above things, and others, help tame excess digital brightness, edge, hardness, glare, and other digital nasties, and well recorded digital still sounds very good.

Finally, there are some good sounding digital recordings out there too. Hang in there Warren. Cheers. Craig