Robert is gettin' old
but is still Robert
in full Integrity
Amazing!
"every hair is numbered"
www . Robert Zimmermann . com
but is still Robert
in full Integrity
Amazing!
"every hair is numbered"
www . Robert Zimmermann . com
Attachments
Re: CAR 54
Frank,
sorry for not answering, somehow totally missed the progression of this thread
Generally I'd like some talk on that, but there's of course the danger of getting bored by the time.
And furthermore, I'm going to join the finnish army for my military service and therefor won't be able to contribute often....
But apart from that, it would be cool to have the opportunity to have some nice small talk, links & legends exchange etc.
We could call it "vintage recording gear & aesthetics" for example. Any opinions??
Eric, thanks for the hint, seems to be nice mag..... unfortunately there weren't any excerpts on the web page to read......
And here in germany we have a hell of a lot of audio mags, one hobbiest/ amateur publication (regarding the peergroup) that is worth a read and a magazine called "Production Partner" that aims at professional audio users. They publish monthly and have a live/ stage and a studio/recording issue. These are published in permanent change (1. month: studio, 2. month: live, etc...). A highly recommended read for anybody who speaks (and can read ) german.
So there's plenty to read, little money to be spent, and even less time to read.....
but thanks anyway....
Oh, almost forgot:
currently listening to <Best of Charles Mingus>
Frank,
sorry for not answering, somehow totally missed the progression of this thread
fdegrove said:Hi Bob,
Do you feel there is enough interest in this topic to carry this over to a new thread?
I'm very interested in anything even remotely related to the better studio gear and the art of recording.
Other folk may feel we're threadjacking here.
Cheers,
Generally I'd like some talk on that, but there's of course the danger of getting bored by the time.
And furthermore, I'm going to join the finnish army for my military service and therefor won't be able to contribute often....
But apart from that, it would be cool to have the opportunity to have some nice small talk, links & legends exchange etc.
We could call it "vintage recording gear & aesthetics" for example. Any opinions??
Eric, thanks for the hint, seems to be nice mag.....
unfortunately there weren't any excerpts on the web page to read...... And here in germany we have a hell of a lot of audio mags, one hobbiest/ amateur publication (regarding the peergroup) that is worth a read and a magazine called "Production Partner" that aims at professional audio users. They publish monthly and have a live/ stage and a studio/recording issue. These are published in permanent change (1. month: studio, 2. month: live, etc...). A highly recommended read for anybody who speaks (and can read
) german. So there's plenty to read, little money to be spent, and even less time to read.....
but thanks anyway....
Oh, almost forgot:
currently listening to <Best of Charles Mingus>
Where did he stand?
I was listening to Up Where We Belong with my JLH for ESL last night. Joe Cocker was standing dead center on the stage, but Jennifer Warnes was slightly off center to my left (i am facing the stage). Do you see the same too?
Chris
PS. CD was one of those various artists ones. Reasonably good recording.
I was listening to Up Where We Belong with my JLH for ESL last night. Joe Cocker was standing dead center on the stage, but Jennifer Warnes was slightly off center to my left (i am facing the stage). Do you see the same too?
Chris
PS. CD was one of those various artists ones. Reasonably good recording.
DPA Microphones - In outdoor binaural Recording
Martin Stephenson & The Daintees - Down To The Wood (Or Martin & Jim Go Binaural)
Voiceprint Records
halojoy - enjoys the music
Martin Stephenson & The Daintees - Down To The Wood (Or Martin & Jim Go Binaural)
Voiceprint Records
halojoy - enjoys the music
I am getting into some european releases by Billy Cobham, Allan Holdsworth...also McCoy Tyner, Simon Phillips.
Just got Dennis Chambers last CD....very well made.
Yes's last album Magnification is pretty good except a couple of tunes....
I like the stuff that www.audiophileimports.com carries...
Just got Dennis Chambers last CD....very well made.
Yes's last album Magnification is pretty good except a couple of tunes....
I like the stuff that www.audiophileimports.com carries...
Dr Hook, Gratefull Dead, tracks from the Rocky Horror Picture Show, Warren Zevon, Phantom of the Opera (CDN female version), Kris Kristoferson (rescue mission, bobby mgee, christian soldier...his soft stuff if I'm listening with the wife ) Jewel (has a very sweet voice) Chantal Kreviasuk, Cowboy Junkies, Concrete Blonde........
Prety much anything except "cryin in my beer" country and NO time for "hate rap"!
) Jewel (has a very sweet voice) Chantal Kreviasuk, Cowboy Junkies, Concrete Blonde........Prety much anything except "cryin in my beer" country and NO time for "hate rap"!
REM (everything), Radiohead (1st three albums are great!), Eels, Presidents of the USA, Frank Black and other good rock, Ska-Punk (Reel Big Fish, Goldfinger) some jazzy stuff (Miles Davis, Diana Krall, Norah Jones) and even acid jazz (New Jersey Kings are good), some classical (I like Beethoven, and Vivaldi's(?) 4 seasons is brilliant), electronica (Air, Royksopp etc.), some dance (House/Trance, Speed Garage, Happy Hardcore) and pop dance like Madonna (Immaculate Collection)...
One of my favourite albums I NEVER get bored of is Norah Jones - Come Away with me - amazing voice, good songs, stunning sound. It is the only album I truly love that sounds 'perfect' too!
Flaming Lips - Yoshimi Battles the Pink Robots is probably my most pleasing discovery of late, and it gets better with upgrades quite nicely, but what doesn't???
Basically anything that hits the spot I try to get, but I must have missed a ton here!
I don't have test tracks as such, but I find any dense, badly compressed and distorted rock is a good test for excessive harshness. Chicane - Far From the Maddening Crowd is a good test for deep bass control > tight amps and musical subs are a must (great album for chilling out to as well...) Ooh add to that testing bass list: 'Cherish' and 'Borderline' by Madonna.
-Simon
One of my favourite albums I NEVER get bored of is Norah Jones - Come Away with me - amazing voice, good songs, stunning sound. It is the only album I truly love that sounds 'perfect' too!
Flaming Lips - Yoshimi Battles the Pink Robots is probably my most pleasing discovery of late, and it gets better with upgrades quite nicely, but what doesn't???
Basically anything that hits the spot I try to get, but I must have missed a ton here!
I don't have test tracks as such, but I find any dense, badly compressed and distorted rock is a good test for excessive harshness. Chicane - Far From the Maddening Crowd is a good test for deep bass control > tight amps and musical subs are a must (great album for chilling out to as well...) Ooh add to that testing bass list: 'Cherish' and 'Borderline' by Madonna.
-Simon
Eric,
Gees, I'd never really guessed Norah Jones was clipped. I've been following the digital clipping thread btw, it's fascinating, really eye/ear opening. The article about compression and clipping etc. is really insightful, and disturbing.
Article in question: http://peufeu.free.fr/audio/extremist_dac/files/current_trends_in_the_recording_format_arena2.pdf
The Norah CD sounds really excellent, and I've previously considered it beyond blame. The slight element of harshness heard playing the disc was, I thought, my system... I'm now reconsidering my thoughts. Another thing - I can't remember the track, but slight audible distortion/clipping can be heard momentarily on a vocal peak - again, I'd ignored it. I can hardly believe one of the best sounding CDs I own is held back by bad recording practices, it actually makes me angry.
-Simon
Gees, I'd never really guessed Norah Jones was clipped. I've been following the digital clipping thread btw, it's fascinating, really eye/ear opening. The article about compression and clipping etc. is really insightful, and disturbing.
Article in question: http://peufeu.free.fr/audio/extremist_dac/files/current_trends_in_the_recording_format_arena2.pdf
The Norah CD sounds really excellent, and I've previously considered it beyond blame. The slight element of harshness heard playing the disc was, I thought, my system... I'm now reconsidering my thoughts. Another thing - I can't remember the track, but slight audible distortion/clipping can be heard momentarily on a vocal peak - again, I'd ignored it. I can hardly believe one of the best sounding CDs I own is held back by bad recording practices, it actually makes me angry.
-Simon
Hi,
Can you imagine why vinyl is still so popular?
Not that pressing badly recorded digits on vinyl is going to make things better...but have you all noticed how ADD recorded CDs often sound more natural?
I haven't read the references to digital recording posted here yet but I know one thing for sure; digital recordings still have a long way to go.
When vinyl, analogue recording was at it best it was amazingly good, approaching mastertape quality on some (all too rare) occasions.
I still have this nagging feeling that analogue recording still had promise when it was "quietly" taken over by the digital hype.
Every musiclover owes it to himself to listen at least once in a lifetime to a well recorded mastertape, you'll soon realise how much goes lost in the production process most of the time.
Ah well, nothing's ever perfect...
Cheers,
Can you imagine why vinyl is still so popular?
Not that pressing badly recorded digits on vinyl is going to make things better...but have you all noticed how ADD recorded CDs often sound more natural?
I haven't read the references to digital recording posted here yet but I know one thing for sure; digital recordings still have a long way to go.
When vinyl, analogue recording was at it best it was amazingly good, approaching mastertape quality on some (all too rare) occasions.
I still have this nagging feeling that analogue recording still had promise when it was "quietly" taken over by the digital hype.
Every musiclover owes it to himself to listen at least once in a lifetime to a well recorded mastertape, you'll soon realise how much goes lost in the production process most of the time.
Ah well, nothing's ever perfect...
Cheers,
"We Can Fix It In The Mastering" = "We can Stuff It Up In The Mastering"
Hi Simon,
Sorry to spoil your fun.
Hi Frank,
I believe that cd does not have to sound harsh, even though many modern recordings are indeed harsh, but this comes down to recording and mastering stuff ups I reckon.
I have had some involvement recently with a particular 'world first' recording where I supplied power and signal leads that modify and clean sounds very nicely without removing detail.
I know the live sound of this band, and their individual instrument sounds in my workshop, and of course their voices intimately.
The resultant cd is one of the harshest I have heard, not because of my leads, but due to the idiot mixdown engineer I believe.
I understand that this engineer used JBL monitors (model unknown) and due to defficiencies in these monitors, and I expect monitoring at too high SPL, the mixdown has ended up with the reverse response curve of the speakers and his ears, giving prominence on a couple of bass notes, and tissing esses and tops.
Because these leads remove harshness and add coherence, I think he has been fooled and pushed things too far in order to restore the harshness that he has come to expect on typical recordings.
The individual instrument and vocal sounds are the cleanest and nicest I have ever heard, with the best depth imaging and 'in the room' presence I have heard on any band recording, but the combined mixdown sucks.
I have tried re-eqing the cd copy that I have, and this gives very substantial improvement, but the complete solution is to go back to the original multi-track master and start again.
I believe that the intended alignment level for cd is -15dB, but this is never observed in modern recordings and goes along way to explain modern recording harshness, as does the use of extensive compression and limiting.
Perfectly flat and clean monitoring speakers, and appropriate monitoring SPL are mission critical to good sounding releases, and all too sadly nowadays, this is severely lacking.
Eric / - Excuse me while I go and find this mixdown engineer and break his legs.
Hi Simon,
Sorry to spoil your fun.
Hi Frank,
I believe that cd does not have to sound harsh, even though many modern recordings are indeed harsh, but this comes down to recording and mastering stuff ups I reckon.
I have had some involvement recently with a particular 'world first' recording where I supplied power and signal leads that modify and clean sounds very nicely without removing detail.
I know the live sound of this band, and their individual instrument sounds in my workshop, and of course their voices intimately.
The resultant cd is one of the harshest I have heard, not because of my leads, but due to the idiot mixdown engineer I believe.
I understand that this engineer used JBL monitors (model unknown) and due to defficiencies in these monitors, and I expect monitoring at too high SPL, the mixdown has ended up with the reverse response curve of the speakers and his ears, giving prominence on a couple of bass notes, and tissing esses and tops.
Because these leads remove harshness and add coherence, I think he has been fooled and pushed things too far in order to restore the harshness that he has come to expect on typical recordings.
The individual instrument and vocal sounds are the cleanest and nicest I have ever heard, with the best depth imaging and 'in the room' presence I have heard on any band recording, but the combined mixdown sucks.
I have tried re-eqing the cd copy that I have, and this gives very substantial improvement, but the complete solution is to go back to the original multi-track master and start again.
I believe that the intended alignment level for cd is -15dB, but this is never observed in modern recordings and goes along way to explain modern recording harshness, as does the use of extensive compression and limiting.
Perfectly flat and clean monitoring speakers, and appropriate monitoring SPL are mission critical to good sounding releases, and all too sadly nowadays, this is severely lacking.
Eric / - Excuse me while I go and find this mixdown engineer and break his legs.
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