Article: "Spin Me Round: Why Vinyl is Better Than Digital"

“Lying”

Nice! Way to go. I have no idea what exactly your experience has been, or what genre(s) you have worked with. I could also point out and expound on the fact that recording engineers and musicians are often at odds as to what sounds closer to real (one reason so many recordings sound subpar), but that would surely not lead to anything positive here. Obviously, we have had very different experiences. It is also obvious that it is not possible to have a discussion with you. Perhaps our paths will cross some day? I tend to doubt it.

They don't argue about what is real, they argue because many (most?) artists have a much different impression of how they sound versus how they actually do.  Digital captures every wart in their playing or singing. It does not add anything nor take anything away.  It is totally unforgiving.  Lots of artists don't like to know they are not as good as they think they are :-)


Amateur musician, not awful :-). I know it is very hard to hear accurately yourself while playing. Singing impossible. Your position in relationship to your instrument makes for a quite different sound compared to what is recorded in front of you. There are quite different masking effects due to body placement, direction of the instrument, etc.


You are not discussing with me. You are trying to tell me things that are not true are.

sometimes I think that what sounds more real may be in the opinion of the beholder....

"You are lying" 




Digital is absolutely superior....

Microphone are perfect to record all details...

Timbre is only an illusion...A color... A taste...

Accurate for the ears has no meaning save illusory....Accurate in bits is the truth...Or in electro units...

I feel stupid discussing with you....😊 Sorry....



There is a good thing tough for me, i know i have the tendency to be arrogant sometimes....I am not perfect at all.... But with you i feel that you beat me.... This is the good news.... The bad news is that it did not change my character....
😊


By the way these elusive microdynanics is always part of the interaction of the musician with his instrument, it is a variation in time of the sound hues, a concept in acoustic...But no for some it is in invented word....

Microdynamics is in the flowing sounding timbre playing and very audible even if it is subtle , but this is erased in any bad embedded audio system being it analog or digital...

The term specifically used by the poster was "micro dynamic nuance". That is a made up term.  Micro and macro dynamics within the recording process are not a made up terms and even though "micro" is the nomenclature used, the processes are fairly "macro" at least in terms of what I would consider layman thinking.

Someone who "claims" to know the recording process intimately would know that this property is pretty much exclusively a factor of performance and mixing and mastering, from the time the note is played, to the final master, vinyl, analog tape, or digital is made.  i.e. it is almost all a factor of the specific recording you are playing, and has little to do with the medium. However, like always, there is the potential for digital to have more dynamic range, so technically there is more latitude to play with dynamics. 


No point me retyping all of this, but i copied a critical section below so people can understand that this is not about the playback or recording medium, but is pretty much all the recording itself.

https://miloburke.com/blogs/personal-blog/posts/micro-dynamics-and-macro-dynamics

How can a mastering engineer improve the micro-dynamics of a song?

• If the micro-dynamics are out of control, the mastering engineer can use compression to get the instruments to gel together more smoothly, and to avoid excessive volume variation.
   
• If the micro-dynamics of the song are too squashed from the mix, the mastering engineer can use expansion to bring out volume variation within a measure.
   
• If the transients of the drums aren't getting enough attention, the mastering engineer can compress with a slower attack.
   
• If the transients of the drums are too excessive, the mastering engineer can tame them by using a compressor with very fast attack and release times.
   
• A mastering engineer can bring out the groove and shape of each measure by balancing a compressor just right, to have the level of the mix subtly bounce and sway around the rhythm of the drums.