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Old 28th January 2002, 09:24 PM   #11
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Join Date: Jan 2002
Location: California
"the 44.1/16 comes out as a sinewave while the DSD version is well reconstructed"

It all boils down to frequency response for the square wave response of the PCM (half the sampling rate). Since the square wave is composed of multiples of the fundamental frequency (i.e. 10k, 20k, 30k, ect..) 22k upper limit will only allow two frequencies 10k and 20k.. that would look like a funky sinewave.

Since the human ear can't hear anything over 20k anyways extra frequency response makes little difference in overall sound quality in my opinion.. oversampling eliminates the "brick-wall" filter that used to ruin CD sound back in the day. Higher bitrates will improve the resolution and probably make a much bigger difference than increasing the frequency response by increasing sampling rates or using other codecs to do the same. (I'm sure opinions may vary on this one =)
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Old 28th January 2002, 09:46 PM   #12
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Default Mapleshade.....

make some fine recordings of some fine artists, mainly blues, jazz, classical, some reggae and other stuff thrown in.

Here's what they're T shirts say..
NO mixing boards
NO overdubs
NO noise reduction
NO compression
NO multitracks
NO eq
NO reverb
NOTHING but the excitement of live music.

Check them out <a href="http://www.mapleshaderecords.com/">here</a>. If you're a real audiophile, you should have a few at least. Prices are very reasonable too.

I like what the last line on their T's says. That's what it's all about isn't it? The first album I recall buying was Supertramp's Paris, and since then I've looked for live work by artists to know what they're really like. Ideally I want to see/hear them live, but often that's not possible for a lot of reasons. I have 5 whole days of live music coming up at the Byron Bay Blues festival, though. Kewl!

I'm setting up a recording and (hopefully) distribution business this year, mainly to find unsigned, talented artists, and record them well, raw, live and exciting: to capture that moment in all it's glorious technicolour.

I am collecting mics again, and have a Studer A80 master recorder, with all custom electronics being built. Digital, schmigital.



Dave: you are correct in saying that you cannot process DSD recordings in a bitstream format. They must be reconstructed into PCM in the digital domain, processed, and then made back into DSD. I had it explained one to me by a mathematician, but the detail of it went over my head. Unfortunately I have no URL convenient to prove this.

Cheers
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Old 28th January 2002, 10:54 PM   #13
PassFan is offline PassFan  United States
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Join Date: Aug 2001
Location: Central FL
Default Old School

Steve:
There are engineers out there who know what they are doing. I think the problem with pop, and a few others, is the fact that the tricks aren't being passed down. Some of the young engineers today,and I'm not knocking them, are too quick to jump on the bells and whistles. Some start out as live sound engineers and there's a big difference between live and studio sound. One who is used to tweaking the eq first with no thought to moving the mic is applying the norm from one to the other. Mic placement and selection is an art. Even a mackie has an on off button on the eq section. Some of the engineers I love are Al Schmidt and Bruce Swedien (misspelled). These guys are old school and really know their stuff. The old blues engineers still use tape at 15 ips, why? They want to compress the tape because its been a part of that blues sound. A half a million dollar Neve is an amazing sounding console. Being SS discrete class a I'd expect that. Sometimes compressing before eqing will give you what you want without adding or taking away from the original signal. My point is there are really good recordings out there, just listen to Natalie Coles Unforgetable (Al Schmidt). Feedback, no feedback its all about training and then trusting our ears. In the end thats all that really matters.
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Old 29th January 2002, 02:32 PM   #14
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Join Date: Jun 2001
Location: Alexandria, VA USA
The other day I listened to "Brothers in Arms." This CD probably came out in '84 from a studio that does not exist anymore. One of the first DDD recordings, it simply was done as good as the CD format would let you. I don't think many "pop" recordings have surpassed it.

So we have not really gained anything in the source area since then. Sure, they know some tricks, our players are better, but the quality of the source is not much better. I am listening to Emmy Lou Harris" "Spyboy" CD right now --- Its a live recording (and a damn fine one at that). No it does not have the dynamics of a live show. But then again how many of the "mainstream" have a system capable of even playing the dynamics the CD has? You would thrash the low-fi boxes to death trying to play even 30dB - forget cars with noise floors of 70dB.

Now, I work at a place that has a zillion dollars worth of equipment (yeah, 1/2 million dollar mixing desks are everywhere now days - Studer is proud of that 950, so is SSL). Coming out of a 48 track digital recorder, it is amazing. Hell, even out a 8 or 16 track.

They could easily come up with a distribution method on DVD disks that would give us what we want. But I really doubt it makes financial sense, especially since artists like EmmyLou can't even get a record deal. Think they would give up the production money to actually do it right? not a chance....

(OK, I am a little cynical about the major labels).
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