High-Resolution Radio

Author: FlorianReiterer

  • Beastie Boys on Mother Earth: The surprising brilliance behind hip hop

    Beastie Boys on Mother Earth: The surprising brilliance behind hip hop

    An apparent contradiction and the surprise behind it

    “Hip hop on Mother Earth Radio?” Some may ask: “Isn’t it all about swearing, drugs, loops and canned beats, musically hardly worth mentioning?” Wrong! We dispel preconceptions and delve into the fascinating world of the Beastie Boys, who prove that hip hop can be much more than the cliché suggests. At Mother Earth Radio, their music plays an important role, and you’ll soon understand why.

    No swearing, no beef: the surprising lyrical approach

    One aspect of the Beastie Boys that is often overlooked is their remarkable lyrical discipline. In contrast to many other hip-hop acts of their time, you would search in vain for vulgar insults or “mother jokes”. Even in absolute “superhero” pathos like in the lyrics to “The Maestro”, you’ll rarely find an F-bomb – if anything, it’s a deliberate, isolated effect that really makes you listen. This conscious decision further sets them apart from the pack and emphasizes their unique and often humorous, but always respectful style.

    This fits perfectly with our philosophy at Mother Earth Radio: we play music that inspires, relaxes and spreads positive vibes. Our program is designed to offer sound experiences that inspire from the ground up and create a pleasant atmosphere. The Beastie Boys are a prime example of how music, including hip hop, can be challenging and entertaining without deviating from this high standard.

    “Check Your Head”: The organic centerpiece of the Beastie Boys

    I listened to the Beastie Boys’ legendary “Check Your Head” on CD up and down back in the day. But it’s only now that I’ve got the original vinyls for Mother Earth Radio and recorded them with our systems that I can clearly hear the musical depth behind it.

    What is immediately noticeable is that they didn’t just sample. Michael “Mike D” Diamond sat at the drums himself and played every track from start to finish. You can hear this in the finest details, for example on the hi-hat, where the knocking of wood on metal is unmistakable – hand-played, no question. This is complemented by the live bass played by the unforgotten Adam “MCA” Yauch (1964-2012) and real guitars, which lend the songs an organic, band-typical touch.

    And the famous scratches? They are not sterile computer effects either. They mostly come from old original vinyls that have been processed live on turntables by DJs – an art form in its own right that honors the medium of vinyl in its original form.

    But even where classic hip-hop elements such as the iconic Roland TR-808 drum machine were used, one decisive factor remains: the vocals. Especially with hip hop, the vocals are the heart of the music, the vibe, the message. And these vocals have been captured fully analog, with all the warmth, presence and subtle nuances of the human voice. The recording of this central element benefits enormously from the analog production and the uncompressed vinyl master. This makes it absolutely worthwhile to experience even hip-hop records on Mother Earth Radio.

    Mario Caldato Jr.: The analog master behind the controls

    The true magic of “Check Your Head” also lies in the man behind the controls: Mario Caldato Jr. He was the long-term producer and sonic architect behind many Beastie Boys works. His approach was groundbreaking at the time and is now more relevant than ever for audiophile listeners.

    Caldato consistently relied on analog recordings on tape. What today is often simulated with a mouse click in software, he realized in time-consuming detail work and with the highest precision. All of the effects were done by hand with automation and realized with analog studio equipment. This is sound craftsmanship at the highest level, which is diametrically opposed to many of today’s productions. This dedication to sound and performance on all levels makes the Beastie Boys absolutely valuable musically.

    Why Beastie Boys on Mother Earth Radio?

    The answer is simple: the Beastie Boys fit perfectly with our sound philosophy. Their meticulous analog production and the dynamics of their recordings, especially on the vinyl originals, reflect our aspiration to present music in its most authentic form. They were not only rap pioneers, but also cross-genre innovators and excellent musicians.

    Mother Earth Radio is all about focusing on musical quality beyond the clichés. We invite you to listen carefully and rediscover the Beastie Boys – with the depth of sound and dynamics that their music deserves.

    Conclusion: A new listening experience for old heroes

    The Beastie Boys are more than just a hip-hop band; they are a masterpiece of musical craftsmanship and sonic experimentation. Dive in and experience why these icons of hip hop have a permanent place on Mother Earth Radio’s program.

    Ready for your “mic drop” moment?

    Discover the incomparable sound of the Beastie Boys and let their musical brilliance convince you. At Mother Earth Radio you can experience their original vinyls in the best quality – free of charge at any time.

  • Les Claypool’s Duo De Twang – Live on Mother Earth Radio!

    Les Calypool's Duo De Twang
    Les Claypool’s Duo de Twang live 2014 at the Jamcruise

    Around the campfire with Les Claypool and Bryan Kehoe

    Are you looking for Les Claypool or Duo de Twang? Then Mother Earth Radio is the right place for you! We play their unique sounds live and in top quality – completely free of charge. Experience how Les Claypool and Bryan Kehoe redefine the boundaries of acoustic blues.

    If you know Primus, you might have an idea of what to expect. But when the Duo De Twang kick things off on Mother Earth Radio, there’s often a big question mark hovering overhead: “What on earth is that??”

    Imagine Les Claypool from Primus sitting with his buddy Bryan “Mr. Key Hoesington” Kehoe around the campfire. Claypool, armed with some kind of Dobro steel acoustic bass, hammers out incredible stuff on it and stomps on some stomp box in time. Meanwhile, Kehoe works his steel guitar with bottleneck solos and everything that goes with it. This is an absolutely unheard, strange dream of a campfire evening – to be experienced live on the radio.

    The birth of the Twang

    Their debut album “Four Foot Shack” (2014) only unfolds its true magic when you experience it as it is meant to be: with full dynamics, like on a vinyl release, while you sit relaxed in your “chair” and listen attentively. That’s when you get to witness the insane stuff they deliver here!

    Claypool always records in high-resolution in his own studio, and the vinyl masters are even less compressed – a treat for audiophiles. The songs are recorded live in one take without overdubs, and Kehoe’s solos are real masterpieces, delivered strictly according to the manual, virtuosically and full of heart – something you can only really experience on Mother Earth Radio.

    Les Calypool's Duo De Twang

    Ready for your twang? Your wish is our command.

    Would you like to experience this extraordinary artist or track right now? On our web player page you can not only dive directly into the high-resolution stream, but also use our song request! Request the artist or track in question and we will play it for you within the next three tracks.

  • Between vinyl and algorithm: AI on Mother Earth

    Between vinyl and algorithm: AI on Mother Earth

    A frank word from me, as the operator of Mother Earth Radio. You may not know the person behind the music, the technology and the stories, but you can imagine that there are many hats to wear behind a project like Mother Earth Radio: Sound engineer, music curator, musician, listener, web designer, radio operator – on top of being a family man and employee. At some point, you reach the limits of what you can manage on your own.

    This is exactly where a topic comes into play that I would like to talk to you about today, quite transparently and honestly: the use of artificial intelligence (AI) at Mother Earth Radio.

    My digital sparring partner

    Let me be clear right away: When I talk about AI, I’m not talking about technology that composes music or generates sounds for our hi-res vinyl streaming. Quite the opposite – Mother Earth Radio stands for authentic sounds from real musicians, brought to you straight from the vinyl record or in the best digital quality. That is our core business, and it will remain so.

    AI from Mother Earth
    Photo by Alexander Abero on Unsplash

    Where AI comes into play is as a kind of “co-pilot” – a tool that supports me so that I can concentrate on the essentials: the music. I’m not a trained writer. Sometimes the ideas and thoughts just bubble up, but putting them into understandable, appealing words is another story.

    This is where I use Gemini, an AI from Google, for example. It’s like a conversation: I explain what I’m up to, what I think about a topic or what questions I have about it. I talk about my passion for high-resolution sound, about the vinyls, about the stories behind the artists. And then the AI helps me to structure these thoughts, find formulations or optimize texts such as our newsletters or blog posts.

    It’s a fascinating process in which we both learn – I learn to formulate my thoughts more precisely, and the AI learns to better understand my “voice” and the values of Mother Earth Radio. But in the end, it’s always my message, my idea, my choice of words. The creative control and final responsibility remain completely with me. The AI is my mixer, not the musician.

    AI in art: where do we draw the line?

    The discussion about AI in art, especially in music, is currently huge and often heated. You hear experts like Rick Beato talking about how music is generated by programs like Suno – and how this is basically just the “thousandth copy of other people’s ideas”.

    This criticism is understandable and important. It touches on the question of originality, soul and human creativity. And this is where we make a clear distinction: Mother Earth Radio is not about playing machine-generated music. We celebrate human creativity, the hours spent in the rehearsal room, the emotional depths that only real artists can put into their work. Our focus is on the authentic performance of vinyl and hi-res streaming – that’s our DNA.

    The tools I use serve to better transport the music and the stories to you. They help to overcome communication barriers, not to blur musical boundaries. It is the balancing act between the passion for analog perfection and the use of modern efficiency tools to be able to share this passion with you.

    Transparency creates trust

    I wanted this openness because transparency is extremely important to me and Mother Earth Radio. AI is a powerful technology that we need to use responsibly. For me, that means using it as a helper so that I, as an individual, can run this project on this scale at all. Because Mother Earth Radio is also about making the most of the digital world, embracing new technology and refining it until it meets our high standards. We do that with audio quality, and we do that with the tools that help us share our stories.

    We are excited to see what the future holds and look forward to continuing this journey with you. What do you think about it? Let’s get talking in the comments!

  • Primus: Little Lord Fentanyl – The story of the monster drummer.

    Your moment of the unexpected begins now.

    Some bands go their own way, unperturbed by conventions. And sometimes they write stories that are so incredible that you can hardly believe them. This moment of the unexpected is exactly what you’ll experience when Primus’ “Little Lord Fentanyl” plays on Mother Earth Radio. As the latest addition to our high-resolution program, this track invites you to discover a band that is constantly reinventing itself – and in the process has uncovered a true drumming marvel.

    The soul of music: craftsmanship you can feel.

    Primus, the legendary combo from the Bay Area, is known for its unique, unconventional sound. But when it came to finding a new drummer, they took a route that was as unconventional as their music itself: Instead of asking a known quantity like Danny Carey from Tool or another star, they started an internet audition. Les Claypool and co. watched over 6,000 video submissions, went through a meticulous casting series and finally made an incredible discovery: John “Hoffer” “Hoffington” Hoffmann, a relatively unknown no-name from Shreveport, Louisiana.

    “Little Lord Fentanyl” is the first track with John Hoffmann on drums, and what a debut! He is an absolute monster on the kit, fitting seamlessly into the trio extravaganza and adding a new, fascinating dimension to Primus’ sound. It’s the pure, unadulterated energy of three exceptional musicians finding each other in the moment of playing together. This Hollywood-ready story is made even more incredible by the involvement of another Bay Area friend: Maynard James Keenan of Tool contributes backing vocals – an absolute dream casting!

    The journey of sound: From the original to your ear.

    As you would expect from Mother Earth Radio, you get this track in the highest quality. Les Claypool himself did a great job on the engineering front here, producing the recording in 96 kHz / 24 bit at his Rancho Relaxo. This is high-resolution audio at its finest, preserving every detail of Hoffman’s explosive drum work, Claypool’s distinctive bass and LaLonde’s avant-garde textures.

    Composition with character: an invitation to discover.

    “Little Lord Fentanyl” is typical Primus: quirky, rhythmically complex and full of surprising twists and turns. It’s music that challenges you and draws you into its very own world. At Mother Earth Radio, we celebrate exactly this kind of composition – bold, unconventional and far removed from the computer retort of the mainstream. This is music that demands attention and rewards with a unique listening experience.

    Your moment. Mother Earth Radio. Welcome home.

    Mother Earth Radio is your portal to these unadulterated sound experiences. It’s the place where you not only hear music, but feel it – music that is grounding and centring. Here you will find a community that understands the value of real music and celebrates the moment of sound.

    Ready for your moment? Your wish is our command.

    Would you like to experience this extraordinary artist or track right now? On our web player page you can not only dive directly into the high-resolution stream, but also use our song request! Request the artist or track in question and we will play it for you within the next three tracks.

  • Esbjörn Svensson Trio live in Hamburg. A jazz wonder on Mother Earth Radio.

    Your moment of magic begins now.

    Some concerts are more than the sum of their parts. They are an event, a great moment that burns itself into the collective memory forever. You will experience exactly this moment of pure musical magic when the Esbjörn Svensson Trio (E.S.T.) performs live in Hamburg on Mother Earth Radio. The concert took place on November 22, 2006 and is a recording of an evening that, against all odds, became one of the most legendary jazz concerts ever. As the latest addition to our high-resolution program, this special release invites you to hear the seemingly impossible.

    The soul of music: craftsmanship you can feel.

    The Esbjörn Svensson Trio was known for its boundless creativity and intuitive interplay. But this evening in Hamburg was extraordinary, even for them. Imagine: a long journey, hardly any time for a sound check – everything pointed to a difficult performance. What happened next was a miracle: the three musicians, three friends from childhood, found a unity on stage that is rarely experienced.

    If you listen to their music – or just look at the waveform of the recording – you can see how every single note, every tiny nuance was played by all three of them to the 192,000th of a second. This is not random tuning, this is absolute mastery in the moment of making music together. It is no longer three outstanding instrumentalists; it is the trio, a single, breathing musical entity. This is exactly the kind of skill and spontaneous perfection we seek and celebrate at Mother Earth Radio. It’s proof that human craft – the ability to have your finest hour in a single moment – triumphs over any technical precision.

    The journey of sound: From the original to your ear.

    This legendary evening was recorded in impressive quality by Norddeutscher Rundfunk (NDR ). The release on vinyl in 2013 by the ACT label is testament to the enduring relevance of this concert. As you would expect from Mother Earth Radio, we have treated this historic recording from the original vinyl record with the utmost care. It has been meticulously digitized in high-resolution audio. That means no loss, no compression, a sound that breathes and grounds you as if you were there. And of course, every note of this extraordinary concert has been enhanced by our unique 429 Hz tuning to give you a listening experience of unparalleled depth and emotional resonance.

    Composition with character: an invitation to discover.

    The Esbjörn Svensson Trio has revolutionized the jazz world, and their live performances have often been a laboratory for bold compositions and unexpected harmonies. This evening in Hamburg is not light fare in the sense of background music; it is music that demands attention. But it also rewards you with a depth and intensity that goes far beyond what you would expect from “through-produced” or simple music. Here you will discover the magic of jazz in its purest form – sophisticated, profound and carried by true mastery.

    Ready for your moment? Your wish is our command.

    Would you like to experience this extraordinary artist or track right now? On our web player page you can not only dive directly into the high-resolution stream, but also use our song request! Request the artist or track in question and we will play it for you within the next three tracks.

  • Frédéric Chopin: Complete Polonaises – Garrick Ohlsson. Latest addition to the Mother Earth Radio program.

    Your moment begins now.

    Some sounds immediately cast a spell over you. They challenge you to fully immerse yourself. This moment of deep immersion is exactly what you will experience when Frédéric Chopin’s ‘Complete Polonaises’, interpreted by a master like Garrick Ohlsson, is played on Mother Earth Radio. As the latest addition to our high-resolution program, we invite you to discover this monumental work in a quality it deserves.

    The soul of music: craftsmanship you can feel.

    Garrick Ohlsson, known for his immense technical brilliance and profound musicality, is the ideal interpreter for Chopin’s polonaises. Every note, every chord, every dynamic nuance breathes the history and emotion that Chopin put into these pieces. It is the result of years of dedication and a deep understanding of the composition. His artistry is a perfect example of the mastery we seek and celebrate at Mother Earth Radio. This recording, originally released on EMI Electrola in 1973 as an original vinyl record, is a timeless testament to the absolute art of sound.

    Frédéric Chopin: Complete Polonaises - Garrick Ohlsson.

    The journey of sound: From the original to your ear.

    As you have come to expect from Mother Earth Radio, we have treated this recording with the utmost care. It has been meticulously digitized from the original vinyl record into high-resolution audio. This means: no loss, no compression, a sound that can breathe and ground you. And of course, every note of these polonaises has been enhanced by our unique 429 Hz tuning to give you a listening experience of unparalleled depth.

    Composition with character: an invitation to discover.

    Chopin’s polonaises are far more than just piano music; they are epic dramas of sound that reflect Polish history and the deepest human emotions. They challenge the listener, but offer an infinitely rich reward. It is this kind of music – sophisticated, profound and borne of true mastery – that lies at the heart of Mother Earth Radio’s selection. With us, you’ll discover the diversity of sound beyond the quickly consumable, music that demands attention and rewards with deeper insight.

    Your moment. Mother Earth Radio. Welcome home.

    Mother Earth Radio is your portal to these unadulterated sound experiences. It’s the place where you not only hear music, but feel it – music that is grounding and centring. Here you will find a community that understands the value of real music and celebrates the moment of sound.

    Ready for your moment? Your wish is our command.

    Would you like to experience this extraordinary artist or track right now? On our web player page you can not only dive directly into the high-resolution stream, but also use our song request! Request the artist or track in question and we will play it for you within the next three tracks.

  • The Ear That Hears Souls: My Journey to Mother Earth Radio

    An Unlikely Revelation: My Childhood Ear

    As a child, I didn’t know I possessed a unique gift, only that melodies moved me differently. I remember my primary school report card, where my art teacher wrote: “In the musical domain, his sensitivity in the emotional sphere is striking.” This seemingly simple observation was, in hindsight, the first glimpse into a world where sound transcended mere auditory perception. It was the earliest sign of my ability to grasp the raw emotions embedded within music, to hear the unspoken stories woven into each note. This revelation paved the way for a lifelong journey, deeply connected to the profound human element within sound.

    The Soul in the Signal: A Unique Perception

    To truly “hear” the soul in an audio signal means perceiving the human truth within every vibration. Imagine listening to a speaker and instantly knowing if they’ve slept poorly or are preoccupied, simply from the subtle tremor in their voice. Or witnessing a drummer, utterly absorbed, pour their entire being into a single crash cymbal strike – a moment so intense it feels like their last act on Earth. This isn’t just about perfect pitch or technical analysis; it’s about discerning the passion, the vulnerability, and the complete human existence poured into each sound. This unique sensitivity transcends mere auditory reception, making music a gateway to understanding our shared humanity.

    The Frustration of Unshared Worlds

    This deep perception, however, often came with a quiet frustration. How do you explain the profound emotional weight of perfectly captured music to someone who doesn’t hear the difference, or simply isn’t interested? In a world where music often becomes background noise, conveying the intricate nuances and raw emotions embedded in each high-resolution note felt like trying to describe color to someone who only sees in black and white. It was disheartening to witness the disconnect, highlighting the challenge of bridging the gap between those who merely hear and those who truly listen, seeking the soul within the sound. This yearning to share authentic sound and the deep human connection it fosters became a quiet quest.

    Mother Earth Radio: My Answer to the Unheard

    From this persistent yearning, Mother Earth Radio was born. It became my personal answer to the “unheard”—a sanctuary for those who crave music in its purest, most authentic form. This platform isn’t just a collection of songs; it’s a dedicated space where every note and texture is cherished. Here, my deep passion for high-resolution audio and my decades of experience in audio engineering converge, creating a unique, independent radio experience. Mother Earth Radio is my testament to the human connection in music, bridging the gap for those who seek a deeper, more authentic sound.

    The Validation of a Global Audience

    Broadcasting the soulful melodies of Mother Earth Radio brought an unexpected, overwhelming joy. Messages poured in from listeners across continents, affirming that my pursuit wasn’t solitary. This global audience resonated deeply with the unique sound and emotional depth of the music, proving that there are indeed hearts that beat faster when they hear music as I do. Their gratitude for the high-resolution audio experiences and the emotional connection felt reaffirmed that music, in its purest form, transcends all barriers, uniting souls in a shared appreciation for authentic sound. This validation underscored the importance of creating spaces like Mother Earth Radio, where genuine music experiences are celebrated worldwide.

    Beyond the Noise: My Definition of Music

    In a world saturated with sound, my definition of music transcends mere noise. For me, music isn’t just a series of notes; it’s the very language of the soul, an unfiltered symphony of raw emotion, genuine storytelling, and resonant human experience. Much of what passes as “music” today simply doesn’t meet this profound standard. Mother Earth Radio stands as my answer to this reality—a beacon for those seeking true musical encounters where high-resolution audio meets deep sound sensitivity, and where the emotional connection to music is not a fleeting moment but a lasting imprint. This is where I’ve found my definition of music: beyond the noise, in its truest, most authentic soul.

  • VR & Hi-Res Audio: This is how you really hear

    The forgotten feeling: what VR glasses tell us about good sound

    Imagine you’re watching a video. Not on the TV, but as if you were in the middle of it. Everything around you is an image and it feels like you can walk through the scene. I’m talking about VR goggles, and to be honest, until recently this was more of a gimmick for me. The images were often blurred, pixelated – you could sense the potential, but it didn’t really blow you away. But then Meta Quest 3 came into play. And with it came a resolution that simply left me speechless. Suddenly the image was so incredibly sharp, so detailed, that I really felt like I was part of this other world.

    VR & Hi Res Audio
    Photo by Alessia Lorenzi

    But the real kicker came when I took my own videos from my hard drive and created them with a special program called Owl3D for these glasses. I put them on and the moment the video started, I thought: “This is amazing! I’ll never look at a normal screen again!” The image was so lifelike, so tangible. And although it was already breathtaking, I instinctively felt: “If only the resolution was just a little bit better!” It’s hard to imagine how incredible it would look if it were absolutely perfectly sharp – simply stunning. It’s already great, you can see everything, it looks great, but that last little bit more pixels, that would be it!

    Why we talk about VR when it comes to good sound

    It is precisely this feeling, this intuitive understanding of “resolution” and what would constitute an even sharper image, that is the key to a realization that many of us have unfortunately lost in the field of audio. Because it’s exactly the same in the world of sound! The only difference is that hardly anyone today knows what “good” sounds like.

    We are surrounded by music. It’s playing on the radio, streaming on our smartphones, coming out of small Bluetooth speakers. And yes, it all sounds okay somehow. It’s as if we’ve been looking at the world through these slightly pixelated VR glasses for years. We no longer know what we’re missing. We have become accustomed to a lower sound resolution, to highly compressed formats in which countless nuances, tiny details and the natural spatiality are simply no longer there.

    Streaming with low resolution
    Photo by cottonbro studio

    As with VR glasses, where you lack a little resolution to really feel the fine texture of a tree bark in the virtual forest or see the sparkle in the eyes of an avatar, we lack the sound pixels in the sound. We hear the song, yes. But do we also hear the subtle vibration of a guitar string, the delicate reverberation of a voice in the recording room, the exact position of each individual instrument on the virtual stage? Can we hear the “air” in the room where the drums were recorded? Quite often, unfortunately not.

    Rediscovering the lost dimension of music

    Hi-Res Audio or excellent vinyl playback are like those razor-sharp VR glasses that suddenly show you what is visually possible. They add the lost pixels of sound. Suddenly, a whole new dimension of music is revealed:

    • Spatiality: The band is no longer a flat carpet of sound in front of you, but spreads out in the room. You can clearly locate individual instruments, feel their exact position and their reverberation, as if you were sitting in the middle of a concert hall.
    • Subtlety and detail: You suddenly hear the sound of the singer’s breathing, the soft creaking of a chair in the studio, the plucking of the strings of an acoustic guitar – all these tiny details that make the listening experience incredibly vivid and real.
    • Dynamics: The music really “breathes”. Quiet passages are really whisper-quiet, loud explosions are powerful and clear without being unpleasant or overdriven. The entire emotional range of the recording is palpable.
    • Emotion: With all these additional sound pixels and details, the music becomes more emotional, more gripping, more real. You are no longer just a listener consuming a recording, but immersed in the experience and almost become part of it.

    Many of us listen to music today as if we were looking at a world-famous painting through a tiny, blurry cell phone camera. You get the idea that you recognize it. But then you suddenly find yourself standing in front of the original in the museum. The colors, the texture of the brushstrokes, the sheer size – it’s a completely different emotional experience, isn’t it? You didn’t know what you were missing until you saw the real thing.

    It’s the same with the sound. For a generation that grew up with compressed MP3 files and streaming in average quality, the full, unadulterated sound – as it was recorded back then, with a stable power supply and via analog mixing consoles directly to tape – may be a completely new sensation. It’s not just “better”, it’s fundamentally more. It is a deep immersion, a rediscovery of the music we love and the experience of emotions that were previously hidden.

    Take the plunge: recalibrate your ears

    Maybe it’s time to put on the “VR glasses” for your ears. Find a really good hi-res source, be it a streaming service that offers lossless playback, a well-recorded vinyl or a high-quality FLAC file. Listen to your favorite music – and let yourself be surprised. You might very well realize afterwards: “I never want to listen with less sound resolution again!”

  • Nerd-torial: The dithering dilemma

    Nerd-torial: The dithering dilemma – Why our ear sometimes beats theory

    Welcome back, dear audio nerds! In the last Nerd-torial, we introduced you to our high-precision vinyl recording process, from 32-bit integer recording with the RME ADI-2 Pro FS to the internal 64-bit float processing in Sound Forge Pro 15. We learned why this extreme computing accuracy is crucial to preserve the “aura” of our records without loss.

    But at the end of every mastering process is a tricky decision: reducing the bit depth for export. And this is where dithering comes into play – a technique that seems contradictory at first glance, but is essential for sound quality. And as we found out at Mother Earth Radio, it sometimes works differently than theory predicts.

    Dithering: The small noise that makes big differences

    Remember: our audio data is processed internally with an incredible 64-bit floating point. This is a dynamic range that is far beyond anything the human ear or even the best studio technology can capture. If we now reduce this data to 24 bits (the standard for Hi-Res FLAC) for export, quantization errors occur mathematically. These errors are not harmless rounding differences; they manifest themselves as unmusical, harsh distortions that can sound like digital “chirping” or “tearing off”, especially in quiet passages.

    Dithering is the solution: we add a tiny, random noise to the signal. This noise is so small that it is barely audible. But it has a magical effect: it randomizes the quantization errors and converts them into a much more pleasant, analogue-sounding noise. The result: a clearer, more detailed and more natural sound, even if we reduce the bit depth.

    The dithering duel: POWR 1 (standard) vs. POWR 3 (noise shaping)

    There are different methods of dithering. At Mother Earth Radio, we had the choice between POWR 1 (a standard dithering without pronounced noise shaping) and POWR 3 (with noise shaping).

    Conventional theory often states that noise shaping (as in POWR 3) is advantageous. Why? It shifts the energy of the dithering noise from the frequency ranges where our hearing is most sensitive (the mids) to the higher, less sensitive frequencies. The overall noise level tends to be even higher – but it is concentrated where we should perceive it least. For classical music in particular, with its extremely quiet passages, this has often been advertised as the superior method for keeping the finest details in the mid-range free of noise.

    The practical shock: John Mayer and the acoustic guitar

    Naturally, we wanted to put this theory to the test ourselves. Our initial tests with dense, complex pieces (such as the John Mayer Trio) showed little audible difference between the dithering methods. The music was so “full” that it effectively masked the dithering noise.

    John Mayer Trio on stage
    John Mayer acoustic set

    But then came the litmus test: a solo acoustic recording of John Mayer – just his voice and a guitar. Here, with this transparent, intimate material, a clear difference suddenly became apparent , in favor of the standard dithering (POWR 1)!

    What we heard was an undesirable “sharpness” in the high guitar registers and with concise vocals when noise shaping (POWR 3) was applied. The original sounded much closer to the master WAV file with POWR 1. The theory that noise can be “hidden” in the high frequencies reached its limits here.

    Why our ear sometimes beats theory: The hi-res factor

    This observation raises important questions and confirms our skepticism about sweeping statements in the audio world:

    1. Human hearing is more complex: the assumption that “nothing is heard” above 20 kHz or that “you can do whatever you want with it” is too simplistic. Even if we do not perceive frequencies above 20 kHz as pitch, they can subtly influence the timbre, the sense of space, the precision of transients and the overall “naturalness” of the sound image. A concentration of noise in these regions may well manifest itself as an unpleasant harshness or sharpness in the perceived spectrum.
    2. Noise shaping and hi-res audio: Many noise shaping algorithms were developed and optimized in an era when 44.1 kHz and 48 kHz were the norm. At our extremely high sample rates of 192 kHz (and above in processing), where a much wider frequency range beyond 20 kHz exists, the effects of shifted noise can have a different, and possibly negative, impact. It seems that the algorithms in these regions sometimes produce artifacts that our “whole person” does perceive.

    The Mother Earth Radio Dithering conclusion

    Based on our extensive listening tests and in-depth research, we have opted for standard dithering (without aggressive noise shaping) at Mother Earth Radio. It may not theoretically offer “that last bit of midrange noise immunity”, but it delivers a more consistent, natural and, above all, unobtrusive sonic result for the full range of our vinyl material – from dense rock recordings to delicate acoustic music.

    It shows once again: while theory gives us a valuable guideline, in the end it is the trained ear of the sound engineer that makes the final decision. At Mother Earth Radio, we trust our ears to bring the “aura of music” to you as authentically as possible.

  • Mother Earth Radio: Vinyl recording workflow 64 bit float explained

    Nerd-torial: The Mother Earth Radio Vinyl Recording Workflow – Why we do (almost) everything right

    Welcome, dear audio nerds and sound aesthetes! At Mother Earth Radio, we value sound quality that breathes the spirit of music and touches the soul. But to achieve this, it takes more than just good records and a record player. It takes a sophisticated, technical workflow that gets the most out of every vinyl groove.

    In this nerd-torial, we take you on a deep dive into our vinyl recording and editing process. We explain why we made certain decisions and why our current workflow is very close to the ideal – even if we can’t do everything “perfectly”.

    Step 1: The supreme discipline – vinyl recording with the RME ADI-2 Pro FS

    It all starts with the analog source: our beloved records. At the heart of this step is the RME ADI-2 Pro FS. This high-end AD/DA converter is known for its precise and transparent conversion.

    Vinyl recording with the RME

    We record in 768 kHz and 32-bit integer. “Wait a minute”, one or two nerds may now interject, “why not 32-bit floating point?” That’s a perfectly valid question! The RME ADI-2 Pro FS converts internally with 32-bit integer. This means that it offers a fixed dynamic range of a gigantic 190 dB. This is far more than even the most dynamic record can ever deliver and also far beyond what our ears can perceive.

    The point is: when recording vinyl, where we can control the analog level via the preamplifier, the risk of digital clipping is virtually eliminated with the ADI-2 Pro FS – provided that we level out cleanly. We use the extremely high resolution of the converter to precisely capture every detail of the vinyl. The discussion about 32-bit float in recording is often more relevant in uncontrollable live environments where unexpected level peaks can occur. For our carefully controlled vinyl process, 32-bit integer is absolutely tops at this point.

    Step 2: The magic of post-processing – Sound Forge Pro 15 and 64 Bit Float

    Vinyl recording with Sound Forge Pro

    After recording in 768 kHz and 32-bit integer, the raw file ends up in our digital processing lab: Magix Sound Forge Pro 15. And here comes the real highlight that makes our workflow so powerful!

    As soon as the file is loaded into Sound Forge, it is converted into the 64-bit floating point format for internal processing. And this is where the aforementioned advantage of floating point comes into its own!

    What does 64-bit float mean? Imagine your audio data is no longer on a fixed ladder (as with Integer), but on a ladder that dynamically adjusts its rung spacing. The internal 64-bit float processing offers a virtually infinite dynamic range. This is where the “non-clipping” takes place. No matter how loud or quiet a signal gets internally, or how many calculations are performed – there is no more digital clipping.

    This is crucial for our processing steps:

    • DC Offset Removal: The removal of unwanted DC components in the signal.
    • Declicking: The sensitive removal of crackling and pops, which can unfortunately be part of the vinyl experience.
    • Resampling (multiple times): We go through several resampling processes from 768 kHz up to 192 kHz. Each of these steps requires complex recalculations of the audio data.
    • Pitch shifting: Another operation that requires immense computing power and precision.

    All these operations take place in the 64-bit float environment. The result: minimal rounding errors, maximum precision and absolutely no digital clipping during the entire processing chain. The integrity of the audio signal is preserved to the maximum.

    Step 3: Finishing – volume according to EBU R128 and dithering

    Once all the processing steps in the high-precision 64-bit float domain have been completed, it is time for the final refinement and export.

    1. Volume normalization to EBU R128 (-23 dBFS): We adjust the overall volume of the audio to the EBU R128 standard, more precisely to -23 LUFS (Loudness Units Full Scale). This standard is crucial for consistent playback across different platforms and ensures a pleasant listening experience. Thanks to floating point processing, we can make this adjustment precisely without losing information or clipping, even if the original level was significantly higher.
    2. POWR dithering to 24 bit: The last step before export is dithering. Here we reduce the internal 64-bit float precision to our target format of 24-bit integer. Now the layman might ask: “Won’t everything you did before with float be ‘perdu’ again?” The clear answer: No, absolutely not!Imagine you have created a perfect work of art in a huge studio (64-bit float). All colors, brushstrokes and details have been applied with the utmost care and precision. At the end, this masterpiece is placed in a perfectly fitting, high-quality frame (24-bit). The quality of the previous work is retained and is visible in the final result. Dithering is a mathematical process that deliberately adds a low, barely audible noise to mask quantization errors when scaling down the bit depth, thus ensuring the best possible quality in the reduced format. The POWR (Psychoacoustically Optimized Wordlength Reduction) dithering that we use is particularly optimized for human hearing.
    3. Encoding as FLAC: Finally, the file is encoded as FLAC (Free Lossless Audio Codec). FLAC is a lossless compression format. This means that the audio quality we have carefully worked out up to this point is fully preserved, while the file size is reduced.

    Why is this workflow “ultimate” (or at least damn close to it)?

    Mother Earth Radio’s workflow is a combination of high-quality hardware and intelligent software processing.

    • High-resolution recording: The RME ADI-2 Pro FS delivers an extremely precise digital image of the vinyl source.
    • Error-free internal processing: Sound Forge Pro 15’s 64-bit floating point engine virtually eliminates all digital clipping risks and ensures maximum precision in all processing steps. This is the decisive advantage that goes beyond the pure bit depth of the source file.
    • Quality preservation: Careful dithering practice ensures that the high quality of the internal processing is optimally transferred to the final 24-bit format.
    • Lossless distribution: FLAC guarantees that the listener gets exactly the quality we created in the studio.

    Although we don’t record directly in 32-bit float (which isn’t necessary in our vinyl digitization setup), we take advantage of floating point arithmetic where it matters most: throughout the entire processing chain. This makes our process one of the most advanced and quality-oriented workflows for record archiving and distribution.

    We hope this nerd-torial has given you a deeper insight into how we work. Stay tuned for more technical insights and of course great music on Mother Earth Radio!