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Master Engineer: Apple's "Mastered For iTunes" No Better Than AAC-Encoded Music
New submitter Stowie101 writes "British master engineer Ian Shepherd is ripping Apple's Mastered for iTunes service, saying it is pure marketing hype and isn't different than a standard AAC file in iTunes. Shepherd compared three digital music files, including a Red Hot Chili Peppers song downloaded in the Mastered for iTunes format with a CD version of the same song, and said there were no differences. Apple or someone else needs to step it up here and offer some true 'CD quality downloads.'"
You want CD quality downloads? Yeah, magic keyword "FLAC".
Piracy: giving you for free what the market won't since the first bestiality video was filmed.
While I agree that its all bunk, I would be interested in knowing if the two files where bit for bit the same or just sound the same to the listener?
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Summary is incorrect. Article says that there was a significant difference between the Mastered for iTunes and CD version, while there was no difference between Mastered for iTunes and a standard AAC track.
Here is the actual relevant part of the article:
I am not an Apple fan, and, actually, dislike the company. However, I wonder if they are truly making claims that are not true or if their claims are simply carefully worded to convey, well, nothing. Apple seems to big and way too self-important to risk the scandal of an outright lie. It reminds me of how they handled the antennae problem with the iPhone. It would be interesting to hear Apple's response but my guess is that they will simply not respond and their fans will be fine with that.
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From the /. summary:
Shepherd compared three digital music files, including a Red Hot Chili Peppers song downloaded in the Mastered for iTunes format with a CD version of the same song, and said there were no differences.
That'd be a good thing if there were no differences between the CD version and the audio versions. However, what the article actually says is
After his comparison of the three digital music files, Shepherd says there was a sonic difference between the Mastered for iTunes waveform and the CD waveform. He says the Mastered for iTunes and AAC-encoded files didn't reveal any differences, adding that this proves to him Apple's Mastered for iTunes isn't any different than a standard AAC file from Apple's iTunes store.
In other words, the Mastered for iTunes version is basically identical to the standard AAC version, and both are different from the CD version.
GLaDOS for President 2016! "Well here we are again. It's always such a pleasure." -- GLaDOS, 2011
Those wonderful color screens people could put on their TV's to impreove the picture -- you can't get more out of something than you put into it. If the lossy music process has lost data you can't put it back (but you can always convince the gullible that you can!)
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A feeling of having made the same mistake before: Deja Foobar
This "mastered for itunes" stuff is pointless crap as long as we are still fighting the Loudness War.
The Red Hot Chili Peppers are a particularly bad test case because all of their albums have massive loudness-compression. And the same guy responsible for that travesty has started to do the mastering on recent Metallica albums so their stuff is going to be all suck too.
When information is power, privacy is freedom.
The summary link just goes to a (slow loading) blog post, the actual article being discussed is at:
http://productionadvice.co.uk/mastered-for-itunes-cd-comparison/
And more specifically, the 11 minute youtube video:
http://www.youtube.com/watch?v=kGlQs9xM_zI
I can't speak for the RHCP tracks, but I downloaded a dozen or so tracks I already have on CD and exist as both FLAC and LAME MP3s on my computer on the day of the announcement to see what the difference is. I could immediately tell a difference with the Master for iTunes tracks, better or worse, I'm not sure yet. They are easy to pick out in A/B testing, the most glaring difference is in the mid-bass area 80-120hz is noticeably boosted in the rock tracks I downloaded.
Stupid Cheap Guitars
It's interesting that this sudden focus on compressed music as opposed to uncompressed (iTunes Plus) has cropped up so soon after Steve's demise. IIRC, Steve was a music nut and was always pushing for DRM-free, higher fidelity digital downloads through iTunes. My foil-hat says that this might be an attempt to sell shitty quality music at a higher price. However, it could also ease network burden when streaming audio on the go. That said, one should still have access to high quality, uncompressed music for when you want to pump up the volume on your home system.
I know many friends who have used higher compression on their FLAC files and, with my gear, I can clearly hear the artifacts. I realize most people won't but I've got mostly high end stuff, and I always burn in both my audio and network cables before using them and mark them with directional arrows (only with pvc-free tape and audio-grade markers) so that the don't get installed backwards after they've been burned in.
I'm amazed at how many people can't seem to grasp the fine points of lossless compression for audio work. I find most non-audiophiles expect that lossless means that what you put in exactly matches what you put out. I can tell you first hand, though, that when you spend as much money on gear as I have, you recognize that perfection comes from not just the bits, but the purity in which the bits are delivered. They may be the same ones and zeros, but a discerning ear can always tell the difference in the various lossless formats when listening to the color and soundstage of the reproduced performance.
Is it just my observation, or are there way too many stupid people in the world?
CD quality is probably good enough for the final mix. You should always use 24-bit during tracking, of course, and if you plan on doing any vocoder work (Auto-Tune, Melodyne, etc.), you should generally track at a higher sample rate as well.
Even if you don't plan on doing pitch correction, it would be nice to have a bit higher sampling rate (say 60 kHz) to ensure that the upper limit of human hearing is completely below the point at which the bandpass filter starts rolling off. Software bandpass limiting during sample rate conversion can generally achieve a much tighter filter with less distortion than analog hardware on the input to an ADC.
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What good is an optimized (if not lossess) format when played through and iPod with a digital to analog converter that costs 50 cents? My $40 Sansa Clip plays FLAC and has a better quality DAC than a $300 iPod. Why is Apple even bothering?
I have a CD (I think it was either "Machinehead" or "Bad Company" that has a very noticeable hiss on some systems.
It reminds me of when I played tapes in crappy decks, and makes me wonder if the CD was recorded from a cheaper analog system. On tapes it probably would have been *less* noticeable as many decks actually had noise-reduction stuff build in.
This is a store-bought CD, not a burn.
Apple's "Mastered for iTunes" is a set of guidelines about how to turn a master recording into an iTunes-optimized digital file. The author of TFA, however, is talking about taking a CD track and making a compressed version that's as close as possible to the CD track. A CD track is NOT a master file. (We don't want a track that's merely a CD representation - we've heard plenty on
So of course if you make an iTunes track from a CD track via the "Mastered for iTunes" process, you'll get a 256 kbps VBR AAC that's identical to ripping a CD track to a 256 kbps VBR AAC. However, if you follow Apple's recommendations, quoted here:
To take best advantage of our latest encoders send us the highest resolution master file possible, appropriate to the medium and the project.
An ideal master will have 24-bit 96kHz resolution. These files contain more detail from which our encoders can create more accurate encodes. However, any resolution above 16-bit 44.1kHz, including sample rates of 48kHz, 88.2kHz, 96kHz, and 192kHz, will benefit from our encoding process.
you'll probably get something different, perhaps better, than a CD track ripped to AAC.
Apple is providing the tools they use to convert to AAC so that sound engineers can preview the product before it goes on sale, but they appear to be the same tools they've been using all along. As I said before, "Mastered for iTunes" isn't a new encoding tool - it's a process workflow. Other recommendations:
- Apple recommends listening to your masters on the devices your audience will be using
- Be Aware of Dynamic Range and Clipping
- Master for Sound Check and Other Volume Controlling Technology
- Remaster for iTunes [That is, they suggest starting over from the original recordings, rather than send in a file that was mastered with CDs in mind.]
"Mastered for iTunes" is indeed optimized for iTunes: it's optimized for separating the gullible from their money.
Oh, the beautiful gloss of greality!
Using RHCP records as a basis for comparison is a terrible example; everything they've brought out since One Hot Minute has been overcompressed to death at multiple stages in production (Californication is even cited as a specific example of a crappily mastered record in the Wiki article).
Shortly after reading this article on ars I went to check it out for myself. Yes, technically they are still "just" 256k VBR AAC files just like other stuff in the iTunes Store. But if the engineer doing the mastering has busted his/her ass to play the cat & mouse cycle of re-tweaking the dynamics after listening to the encoded result a few times, the results are extremely surprising.
If you've got a good stereo or a nice pair of headphones, go listen to a normal CD version of Jimmy Smith's "The Cat" ripped at 256k VBR AAC, and then listen to the "mastered for iTunes" version. I had no idea lossily compressed audio from 40+ year old analog master tapes could sound that good.