What is a bad recording?

EC’s voice is distorted and to me this sounds like a classic case of under-padding a microphone that is too hot for the input module.  I can’t imagine that anyone would do this intentionally, and if it was done later in the chain, I think someone would have taken steps to mitigate it.

 

Under-padding of the microphone is a real bug-a-boo and you will hear it crop up in many recordings if you really listen.  I have this disk and hear it in several of the tunes, though not to the extent of the EC cut.

Erik, I agree with and understand exactly what your point is. I have always understood "music quality" is not the same as "sound quality".

I even started a thread about how I automatically mentally grade every album I play into categories D, C, B, A and A+, BASED ENTIRELY ON SOUND QUALITY, REGARDLESS OF THE QUALITY OF THE ARTIST, GROUP OR GENRE.

The sound quality is the recording quality.

The music quality is not related to the recording quality.

PS- I always like your posts. They are consistently thoughtful and considerate, which appeals to the thinking person. 

Excellent question — and yes, absolutely.
Even the best recordings can sound poor, harsh, or unbalanced on a high-quality stereo system — and this is actually a common and fascinating phenomenon among experienced audiophiles.

Let’s go deep into why 👇

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🎧 1. “Good recording” is often system-dependent

A “good” recording doesn’t always mean it will sound good everywhere.
A system with high resolution, transparency, and dynamic accuracy will reveal flaws that were masked on lesser gear.

🔍 Example: A recording with a mild upper-midrange boost (for excitement on consumer speakers)
– On a revealing system, it can sound shrill or fatiguing.
– On budget or warm systems, it may sound vivid and lively.

So the more transparent your system, the less “forgiving” it becomes.

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🎚️ 2. Mismatch Between Recording Aesthetic and System Voicing

Different systems emphasize different tonal balances:

• Warm systems (tube amps, soft-dome tweeters, etc.) favor lush, midrange-rich recordings.

• Neutral or analytical systems (studio monitors, metal tweeters, high-feedback solid-state) expose every imperfection.

🎵 Example:
Patricia Barber’s Modern Cool – superbly recorded but can sound edgy on ultra-linear setups with hard tweeters.
Diana Krall’s The Girl in the Other Room – beautifully mixed but can sound muddy on warm systems.

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🎛️ 3. Production Choices Matter More Than Audiophile Hype

Even “audiophile label” recordings can have:

• Too much compression → kills dynamics

• Artificial reverb or EQ → sounds unnatural on revealing systems

• Phase tricks or multitrack artifacts → smear imaging

🎧 Example: Some pop or jazz “hi-res remasters” sound worse than original CDs, because they were brightened for streaming or earbuds.

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🔊 4. Room Acoustics Can Betray a Good Recording

A stellar recording depends on how it interacts with your room:

• Hard, reflective rooms can turn lively recordings into echoey or fatiguing messes.

• Bass-heavy rooms can make balanced mixes sound boomy or veiled.

A “good recording” often assumes a neutral listening environment, which most home spaces aren’t by default.

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🎵 5. Real Examples (Well-Recorded but System-Sensitive Tracks)

Track	Artist	Why It Can Sound “Bad” on Revealing Systems
Brothers in Arms	Dire Straits	Sibilance and lean mid-bass on analytical setups
Aja	Steely Dan	Extremely revealing — exposes any system imbalance
Kind of Blue (1959)	Miles Davis	Mic hiss and tape noise prominent on modern DACs
Random Access Memories	Daft Punk	Wide dynamic range — can sound dull on systems lacking punch
The Trinity Session	Cowboy Junkies	Natural ambient mic placement — sounds distant or thin in bright rooms

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🧠 6. The Paradox of Resolution

A top-tier system doesn’t just make good recordings sound better — it makes everything sound more truthful.
That means:

• Good recordings sound amazing.

• Average recordings sound mediocre.

• Bad recordings sound unlistenable.

So when someone says “this good recording sounds poor on my high-end setup,” it often means the system is too revealing for its own good, or the recording wasn’t as perfect as believed.

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✅ Summary

Cause	Description
System too revealing	Exposes EQ or compression flaws
Room acoustics	Adds reflections or bass peaks
System voicing mismatch	Warm vs. analytical tonal bias
Recording “mastered hot”	Bright or fatiguing on neutral gear

 

So this is what I think I'm asking, are there really bad recordings, or just systems with too much character to play them well?  Are we better off at the end of the day with warm and laid back systems ?? 

Bad recordings can likely sound better on a more musical system, while good recordings can likely sound better on more transparent systems.  It’s a trade off, there is no right answer but only preferences to lean towards.  

@tomcarr

Thank you for the kind words.