The replacements pleased to meet me 320 kbps vs 256kbps

Noise Never Ends: The Replacements

remastered and expanded edition with bonus tracks of The Replacements' fifth album, Pleased To Meet Me, which was released in The singles from. For me, audio quality is paramount which is why I have put off I need to be contend with kbps on APM rather than kbps on Spotify or. I'm preparing to transcode all my newly tagged flac-lossless files to mp3's. LAME with the v0 VBR setting for me. encoding and get the biggest capacity music player i could find. my collection is much smaller house fire (with great replacement insurance money) wipes out your stuff. . Happy listening.

Generally, everything sounded a little harsh and unrefined.

  • Need some advice RE: Kbps WMA files for MP3 player

These had a very processed, artificial, sound. Vocals started to sound a bit metallic, and the whole recording sounded harsh. In all fairness, MP3s were never designed to be played on high-end audio equipment costing well into four figures. For this reason, it's probably unfair to make direct comparisons between CDs and MP3s. However, much to my surprise, I found that MP3s, even ones recorded at kbps, are fine for casual listening, listening to music on the move, or listening in noisy environments where having CD quality would be of little benefit.

MP3 sound quality that fails to make the grade in a living room, when played through a high quality system, may be quite acceptable on a portable MP3 player in a bus, train, or on the street. With regard to file size: There may be occasions when having a smaller file size, and thus access to a greater number of tunes, is more important than high quality audio older MP3 players with small memories spring to mind.

According to the information I have read, AAC files at lower bit rates such as kbps do sound noticeably better than MP3s. However, at higher rates such as kbpsthere is little audible difference. With larger memories on portable music players, and Internet speeds increasing, lower audio file size is becoming less of an issue. Consequently, the future is looking bright for sound quality. Just arrived on this site: This month I detail how to replace the internal battery of a Roland XP60 keyboard in: Roland XP60 Battery Replacement.

This month there is a further update to the article Choosing a Turntable 2 - Road to Regawith more news on the hum problem. This month features four all-new Japanese pages see News for detailsand a new photo in the Gallery. Four more pages in Japanese have been replaced this month. See June News for details. This month I have replaced four pages in Japanese that were left out after the site renewal at the end of See May News for details.

At times, it seems that their fans, record label, and media wanted them to be famous more than they did. The self sabotage is great rock n roll history and diving into " All Over But The Shouting " by Jim Walsh explains some of it quite well.

Showing up to gigs drunk and playing horribly when the "suits" were there to see them, and then showing up the next night and tearing the roof off. It was who they were. They never seemed comfortable getting attention. They didn't understand how to deal with it. Perhaps the pressures of fame chasing them hastened their death as a band. Perhaps it was inevitable either way. That's history now though and their body of work is a progression that is interesting when viewed from the distance of time.

I could write thousands of words about The Replacements, but I wouldn't be saying anything that hasn't been said before, so I'm going to review my favorite record by The Replacements; Pleased To Meet Me. If you are still with me, then you probably either care about The Replacements or want to learn more No matter why you are still reading, thanks for sticking around. PTMM, as I will refer to the album from here on out, was the band's second major label record, after having put out four albums on the smaller, Minneapolis based label called Twin Tone Records.

Many people consider the album Tim as their masterpiece, and with the music on that record it's hard to disagree. It was their major label debut and had several songs "Bastards Of Young", "Hold My Life", and "Left Of The Dial", that proved to be anthems for many young music lovers who were coming to grips with moving out of their teenage years at a time when everything from fashion to music seemed hollow or to have a dollar sign on it, including their rock n roll heroes.

Maybe it was because it was the album that my friend Brian forced upon me unlike anything else he ever asked me to try. I was a card carrying Beatles, Zeppelin, and Floyd guy. If it's not on the radio, it must be minor league music. I had the cassette tape that I was loaned for ten years before I gave it back.

I listened to it begrudgingly at first. Then I decided to just leave it in the car cassette player for awhile. And it started getting through.

Which bit-rate do you encode your mp3's?

It started speaking to me. And not just the album, but the band and the way they played. The way Paul Westerberg sang with ragged desperation. The way Tommy Stinson and Chris Mars drove the music through your soul like a hammer slamming a nail into wood. The sensible, sometimes fun, and sometimes sad song writing.

This album led me to become a full fledged Replacements addict. I collected everything I could find, from music, to magazines, to VHS tapes of them, and finally into an underground tape trading circuit where I also met some neat people and still correspond with them today; Rob, C9 I collected tons of great live music, demos and outtakes from my new obsession.

Well, I can't help it I suppose. I keep going personal when I simply want to review the record.

Absolute best AAC quality with qaac

Oh, well, fuck it. It's my blog, right? How can I share anything about this album without telling you what the draw is? PTMM checks in at a frantic 33 minutes in length. The cover is a take on Elvis' GI Blues album cover and the depiction of a "suit" shaking hands with a someone who was obviously ragged plays into the title of the album. Was it showing The Replacements coming to terms with being a major label commodity? To date, it was their most polished and technically savvy recording, but don't mistake that for clean and anti-septic.

The songs have life and drive. First up on the album is "IOU". It starts the record off on a raucous note. Driving the guitar right down your throat from the get go and letting you know that you are listening to The Replacements.

The lyrics, when dug into, seem to reject the fact that simply because the band is being pushed towards the bright lights, they still don't buy it. They do what they do and don't owe anyone a damn thing. The drumming by Chris Mars is not always technically proficient, but he really pushes the song with his relentless beat. Paul Westerberg was a big fan of Chilton's songwriting and was probably hoping to turn a new generation on to one of his heroes.

The tempo of this song is infectious, as Mars does great work once again and Westerberg writes one of his best hooks ever; "I'm in love, what's that song? I'm in love, with that song". Tommy Stinson, in my opinion, is the backbone of the music with his relentless bass, along with the subtle saxophone work.

The lyrics, once again, seem to be a push back on "hitting it big". The line is "one foot in the door, the other one in the gutter". Westerberg realized they were just one step either way from being nothing or being something.

There they were, stuck in the middle, with the door closing. Up next is "Nightclub Jitters". It's a nice slow down take on cocktail jazz.