Julian’s just linked to a pretty good article about audio compression from Rolling Stone. I’d also recommend this IEEE Spectrum article on the subject. I suggest you choose according to who you consider more culpable: the geeks who engineer the offending waveform compressors, or the sold-out music journalists who help create a market for them.
But I wonder how much longer this will be a problem. The cost to keeping an alternate version of a digital file in inventory is just about zero. And consider that radio-ready crossover tracks are already commonly mixed into different forms for different broadcast outlets: adult contemporary stations get the acoustic guitar cranked up, and stations with “Z” in their names may be treated to an extra bass line (the better to make their listeners’ rusted-out hatchbacks buzz, rattle and hum).
I’ll admit I’m not an expert on the mixing and mastering process — Charles, maybe you can chime in? — but my impression is that compressing the hell out of a song requires considerably less work than mixing those alternate versions. So if you can get just a few hundred people to buy the crisp, uncompressed FLAC version of a song, I imagine that’d pay for its production costs. It’s actually the audiophiles who are holding this back: their disdain for portable players and digital files is preventing support for the lossless FLAC format from hitting the market (some players support it, of course, but not many).
Incidentally, this all ties pretty well into something I’ve been pondering lately. Since the demise of Oink I’ve found myself listening to a lot of 128kbps or lower MP3s — the Hype Machine transcodes everything to that bitrate, and WOXY’s 32kbps AACPlus stream, while somewhat of an apple to MP3′s orange, is certainly less than perfect sounding. And it’s true that I’ve been feeling a little less emotional impact from many of the songs. It sounds stupid, I know. This didn’t happen to me in the past.
But I think this is partly just the result of getting older, and it’s given me an important perspective on audiophile pretension. The market for high-end equipment is defined by the rich old guys who can afford to buy it — folks whose high-frequency-sensitive cochlear hair cells have given up the ghost in significant numbers. So one should expect that audiophile gear will be tuned to overcome these deficiencies. It’ll seem both extravagantly stupid and stupidly extravagant to the still-immortal young’uns, but decreasingly so as their own ears age — different age groups effectively have different equalizers built into their heads. It’s worth keeping in mind that a hunger for ludicrously expensive speakers may be as much a sign of a medical condition as it is a sign of having too much money. Happily, the cure for both afflictions is the same.
(None of the preceding should be taken to mean that anyone buying this is anything less than a complete moron.)