Mark Waldrep, aka Dr. AIX, has been producing and engineering music for over 40 years. He learned electronics as a teenager from his HAM radio father while learning to play the guitar. Mark received the first doctorate in music composition from UCLA in 1986 for a "binaural" electronic music composition. Other advanced degrees include an MS in computer science, an MFA/MA in music, BM in music and a BA in art. As an engineer and producer, Mark has worked on projects for the Rolling Stones, 311, Tool, KISS, Blink 182, Blues Traveler, Britney Spears, the San Francisco Symphony, The Dover Quartet, Willie Nelson, Paul Williams, The Allman Brothers, Bad Company and many more. Dr. Waldrep has been an innovator when it comes to multimedia and music. He created the first enhanced CDs in the 90s, the first DVD-Videos released in the U.S., the first web-connected DVD, the first DVD-Audio title, the first music Blu-ray disc and the first 3D Music Album. Additionally, he launched the first High Definition Music Download site in 2007 called iTrax.com. A frequency speaker at audio events, author of numerous articles, Dr. Waldrep is currently writing a book on the production and reproduction of high-end music called, "High-End Audio: A Practical Guide to Production and Playback". The book should be completed in the fall of 2013.

5 thoughts on “Defining Dynamic In Music and Audio

  • Bob Graham

    I really enjoy reading your posts, this one in particular, as I think many listeners don’t appreciate the damage being done by the loudness wars. There is one small, easily corrected, typo: you begin “Music is comprised of four major components…” and then list five “…melody, harmony, rhythm, dynamics, and form.”
    I’m looking forward to tomorrow’s post!
    All the best,

    • Admin

      Thanks Bob…I usually leave off form when I talk about music components…and then I put it in.

  • Chris B

    Sadly, in the world of commercial music, I don’t hold out much hope of the dynamic range opening up. In live performance as well as in recording, attitudes seem so firmly based upon being loud: in live venues, in order to utterly drown out the crowd, and on portable audio devices, to compete with the background noise of the streets, gym, aeroplane etc. Those of us who listen via high-quality speakers or decent headphones, in a quiet environment, are comparatively few in number.

  • “How do you expect to compete with other recordings on DVD-Audio, Blu-ray, or high-resolution downloads?”

    It’s as simple: recordings might be produced with Fujitsu 65 GHz 8* bits mono non-anti-alias-filtering ADC + noise-shaped dither + oversampling .

    All of these adequately address highly decreased quantizing error level, reduced overall noise, quite seriously increased uncorrelated noise height, perfect dynamic range, very good impulse response {incl. 3D image}, excellent high frequencies, decent square wave test results. This is well, but can be lot better yet.

    * Dynamics is independent of bit number; even more so, no higher-end equipment is required for that.

  • Sergio Zori

    Mark. Keep up the great work getting the message out about what constitutes real high resolution audio. And sadly there’s an amazing amount of confusion as you have clearly pointed out. Putting old recordings in new containers is not High Resolution.

    Here’s a very interesting posting by David Pogue that does a listeners test of the Pono, and found it wanting; but all they used was older non high definition recordings. But at lest he was getting close. Certainly someone you need to contact and educate.

    See Pogue article about the Pono called The Emporer Has No Clothes on Yahoo Tech


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