Now? I can't now. I had to accept a job of systems/network admin because I need to eat, feed the family, pay bills... I don't have time for my Hi-end projects. An year ago when I could not find a job and thought it is impossible, I agreed to help people to fix stuff, to design new amp, to do some my own experiments... But today I can't finish that projects!
I don't think that now is the time to "start using and pushing for highest standards"...
Behringer
I have to chime in that the earlier 1990's Behringer compressors made in W. Germany in particular were durable units. I have not had good luck with the completely Chinese units made in Behringer City, with intermittent and broken jacks and switches and pots and in general pretty low-end build quality more in common with home equipment.
It is for these reasons that I will not specify Behringer for recording or radio studios in the future. I have had few of these problems with, for example, DBX, Lexicon, or Orban equipment or other truly pro-audio brands; nor should I for the price differential. Of course if budget is limited, then one has to tolerate these problems.
Just my $0.02 worth.
Howie
Howard Hoyt
CE - WXYC-FM 89.3
UNC Chapel Hill, NC
www.wxyc.org
1st on the internet
...and guys like Behringer do that already! Their prices are right!
I have to chime in that the earlier 1990's Behringer compressors made in W. Germany in particular were durable units. I have not had good luck with the completely Chinese units made in Behringer City, with intermittent and broken jacks and switches and pots and in general pretty low-end build quality more in common with home equipment.
It is for these reasons that I will not specify Behringer for recording or radio studios in the future. I have had few of these problems with, for example, DBX, Lexicon, or Orban equipment or other truly pro-audio brands; nor should I for the price differential. Of course if budget is limited, then one has to tolerate these problems.
Just my $0.02 worth.
Howie
Howard Hoyt
CE - WXYC-FM 89.3
UNC Chapel Hill, NC
www.wxyc.org
1st on the internet
I listen mostly to classical music.
A while ago I paid for few High Definition downloads (symphonies). Though the technical quality is good, the recording quality is poor, so the money for those files is a pure waste for me. I'd rather have a vinyl record, or a CD, which is recorded well, over HD file which is recorded poorly.
...and guys like Behringer do that already! Their prices are right!
Guess you wont be on this site anymore.... got a real job now. good for you. see you only on weekends and holidays?
No Behringer do not make Ambisonic/soundfield mic. But I am pushing for someone to do so at Ok price. then many can buy it and use it and we can enjoy more accurate/real sounding music. thx. Good luck on your new job.
I agree with Richard Marsh that we should try to get a better implementation of audio recordings, if possible. The Calrec mic system is a GOOD example of a creative way to improve recordings, even though even the original Calrec was 'compromised' by the mike capsules and electronics, to some degree. Of course, a really FINE version of the Calrec mike would be VERY expensive to implement. It might just be that we have to settle for Panasonic and contemporary IC's in an amateur format, to see it continued, during this economy.
There is always an exception; My choices (non-classical) for HD downloads are far better technical quality than other sources.... which makes for a closer realization to live sounds but they arent all great recordings -- which is still the problem I want improved and a mic system like the Ambisonic will help do better -Overall. esp. for classical. I just wish there were more selection of blues music for my choices. But with over 10,000 blues tunes in my house, I know many arent recorded well.
Still, we can up the averge level of recording quality for all types with better mic and recording .... the playback level of quality is very high for the home. The average or typical recording side needs to come up to par at least. It used to be the other way around.
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It is not a new, I have this job since last September. And lurking on forums in different Web-browser tabs during the day, when working with computers through terminal windows on the same screen, is quite different from being capable of concentrating on own projects that requires time and energy.
In order to be able to concentrate on projects I would need to leave the job, but I can't do that. It is not "the right time" in current economic situation.
Believe me, if Behringer does not sell something that you think is required by market that means it can't be done yet at Ok price.
I dont believe that for a second.
[I also own several Behringer models -- Ultra drive Pro, Super-X Pro, Ultra-Curve Pro. They are not of high enough sound quality - stock - for HD realism but offer a lot of bang for the buck and can be modified/upgraded easily]
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I do. I've seen many times how flexible he follows after market demands. And I doubt that any startup has a chance to compete.
I don't either. Just in the shower, a few minutes ago, I thought it through. With multiple (4) channel op amps of reasonably high quality, quality surface mount resistors, caps, etc. it would be possible to implement this approach with little significant investment, at least compared to a full blown version that I might have made for Dave Wilson, when he was recording, for example. We should study the block diagram.
Maybe not anything like live music, maybe better. Live music is not all that great if you don't get the right seat ... the string section can sound steely and overwhelm everything up front and the bass can be too much in the back of a hall. The there is amplified music which can just sound horrible indoors.
I get more from a properly set up stereo (with good recordings) than most live events. Though with a good seat in a classical hall, the sound can be pretty wonderful.
If one's not too obsessed with acoustic space, a stereo system can get it very right from tonal quality perspective.
Live events are quite different too. I saw few live local events here. I mean jazz concerts. Even behind the scene the sound from monitors is much better than in front of speakers for listeners, I guess because audio engineers don't hear them so can't damage completely. Systems for thousand listeners are much more horrible than systems that a single audiophile can afford. That's why I decided 5 years ago to go to this direction, but found that audio professionals have damaged brain and don't want "live sound" during live events. No demand for high-end PA systems, unfortunately.
I agree with you that the recording quality is the weakest link in the chain of reproduced music, especially in recent years. I also agree with you that presently a very high quality of reproduced music at home is attainable.
However, as a retired technician and a consumer of recorded music, there is nothing I can do about the quality of recent recordings (other than complain about it).
Furthermore, it appears to me that the root cause for poor recordings is the attitude and expertise of many sound engineer, more than any technical limitation. It is clear to me by comparing 'vintage' to recent recordings.
When a sound engineer doesn't aim at attempting to create realism, no technology will bring about better recordings, recordings that have more realism to them. Technology is only a tool, a tool that can be used for various purposes and ends.
Regrettably, I fail to see who, or what, is going to 'educate' the mass of recording sound engineer.
At least some times, the demand for certain way of recording lies with the record companies. Their demand is that recording will sound 'well', or 'good enough', on boom-boxes and car radios. This is what a well known sound engineer told me.
Wavebourn, you appear to be a 'self-referencing' kind of guy, and you seem to come to the conclusion that you, and only you, has the ability to sense true audio quality, and that everybody else is 'damaged' or whatever.
Perhaps lack of interest in YOUR approach to PA is considered too little in absolute loudness to be very useful, except for very small events.
Back 40 years ago, I worked with Bascom King and others with a company called 'Soundstorm'. With this system, you would have felt right at home, IF you can reference outside your own work. Lots of small cones, tubes and solid state, it did modest concerts in Santa Barbara, and I came along to help once or twice. One concert was with Doc. Watson (the blind folk guitarist). After the concert, Doc. Watson went out of his way to tell us that he appreciated the sound quality of the PA. Now that's FEEDBACK! However, when the Grateful Dead rented Soundstorm's system as an adjunct to the 'Wall of Sound', putting it on a delay line, and in the middle of the audience of an open air football stadium, I was told later that the system did not have enough 'juice' to do the job properly. Yet, for a folk group like: 'Old and in the Way' it was OK.
Perhaps, that is why you have been 'ignored'.
Perhaps lack of interest in YOUR approach to PA is considered too little in absolute loudness to be very useful, except for very small events.
Back 40 years ago, I worked with Bascom King and others with a company called 'Soundstorm'. With this system, you would have felt right at home, IF you can reference outside your own work. Lots of small cones, tubes and solid state, it did modest concerts in Santa Barbara, and I came along to help once or twice. One concert was with Doc. Watson (the blind folk guitarist). After the concert, Doc. Watson went out of his way to tell us that he appreciated the sound quality of the PA. Now that's FEEDBACK! However, when the Grateful Dead rented Soundstorm's system as an adjunct to the 'Wall of Sound', putting it on a delay line, and in the middle of the audience of an open air football stadium, I was told later that the system did not have enough 'juice' to do the job properly. Yet, for a folk group like: 'Old and in the Way' it was OK.
Perhaps, that is why you have been 'ignored'.
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3 years ago I experimented with stereo microphone made of 5 Panasonic capsules, with corresponding matrix. It worked quite well, especially in headphones, you can hear what goes on around your head. No need for additional decoding, and full compatibility with existing equipment.
I even added optical compressors inside, to avoid clipping of amplifiers.
For those who understand Russian here are some tests recorded. I did that for a colleague in Israel who tried to convince me to use their new optic capsules.
http://wavebourn.com/music/festival/micarrays.wav
Here are pictures of the breadboard attached (LEDs of different colors indicate compression).
I even added optical compressors inside, to avoid clipping of amplifiers.
For those who understand Russian here are some tests recorded. I did that for a colleague in Israel who tried to convince me to use their new optic capsules.
http://wavebourn.com/music/festival/micarrays.wav
Here are pictures of the breadboard attached (LEDs of different colors indicate compression).
Attachments
I have the Calrec schematic (that I can't share), the original had 5532/4 type op-amps in it but I don't think it was that compromised. The capsules and the pattern are more important in the end.
Have either of you seen Martin Kantola's panphonic concept? His mics use original Neumann capsules and VF-14 tubes placing the price in the stratusphere. Panphonic.com
I have a Calrec schematic from the internet, this morning. Perhaps yours is different.
In any case, THINK what you could do to streamline and improve the ORIGINAL schematic. NO coupling caps everywhere, quad sims, quality surface mount, etc. Maybe a servo at the end, just to keep to accumulated DC offset to virtually zero.
Think of the quality bird call recordings you could make. You could just set up in the wilderness and go to lunch. Later, you could FIND and home in on the birds that are worth listening to!
In any case, THINK what you could do to streamline and improve the ORIGINAL schematic. NO coupling caps everywhere, quad sims, quality surface mount, etc. Maybe a servo at the end, just to keep to accumulated DC offset to virtually zero.
Think of the quality bird call recordings you could make. You could just set up in the wilderness and go to lunch. Later, you could FIND and home in on the birds that are worth listening to!
No, I had not been "ignored". I could not been "afforded" by musicians and singers who tried my prototypes. It is all about business John! All participants of the business have own business priorities, that are not necessary the best for the Art. You know that well, and please don't blame on me as if I am "a wrong type of a guy". I see that the niche for High-End for concert exists, and you know that as well. But no matter what you, me, Richard, or others think, this niche has own priorities that are far from what we want in terms of sound quality.
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