John Curl's Blowtorch preamplifier part II

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Your own recordings of Southpaw Jones and others ought to sound utterly different than what they'd sound like at a live venue.

Nope, they sound remarkably the same (I frequent small venues), even when doing a comparison minutes after the recording. Come down for the Lee Barber show/taping and find out for yourself. Live music, no PA- that's my reference point.
 
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Nope, they sound remarkably the same (I frequent small venues), even when doing a comparison minutes after the recording. Come down for the Lee Barber show/taping and find out for yourself. Live music, no PA- that's my reference point.

THIS year, I fully agreed; the recording was remarkable 'live' sounding. I remember when the applause came out of the speaker and several people just looked up, startled, who was applauding at that point. Nope, was the recording.

But at last years concert at your place Stuart I thought there was appreciable difference between the live and recorded. I don't remember the exact recording/mike setup from that time, but this year's mike set with the artificial head Scott brought along must have made the difference.

jan
 
A few differences in the recording setup. Scott's mikes are terrific- I'm lusting after a pair. :D The year before, the mikes were quite crude- for the concert/taping on December 3, we'll use my newer ribbon/Blumlein mikes- the comparison with Scott's should be very interesting.

One of the songs from the Southpaw Jones show will end up on your site as supplementary material for Part 2 of the mike article.
 
Nope, they sound remarkably the same (I frequent small venues), even when doing a comparison minutes after the recording. Come down for the Lee Barber show/taping and find out for yourself. Live music, no PA- that's my reference point.


I want clarify my point by saying your recordings should sound different than the PA system at a live venue.

John
 
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As a matter of fact, yes. :D My wife, who doesn't care about audio (I mean, the cliches keep piling up!), was startled, and immediately declared it the best reproduced sound she's ever heard. She didn't have to come out of the kitchen, it's all of one piece with our living room.

She already thought highly of Scott, this just confirmed her opinion.
 
THIS year, I fully agreed; the recording was remarkable 'live' sounding. I remember when the applause came out of the speaker and several people just looked up, startled, who was applauding at that point. Nope, was the recording.

But at last years concert at your place Stuart I thought there was appreciable difference between the live and recorded. I don't remember the exact recording/mike setup from that time, but this year's mike set with the artificial head Scott brought along must have made the difference.

jan

Jan, just to clarify I was experimenting with what Rob Danielson calls a "head spaced barrier pair" which is a simplified dummy head setup. It gives a semi-binaural effect that seems to work on headphones and speakers alike. Here is more on similar stuff... caperteebirder.com - birdsongs and landscapes
 
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Jan, just to clarify I was experimenting with what Rob Danielson calls a "head spaced barrier pair" which is a simplified dummy head setup. It gives a semi-binaural effect that seems to work on headphones and speakers alike. Here is more on similar stuff... caperteebirder.com - birdsongs and landscapes

It must have been the car wash mittens ;)
So sad that I didn't take more pictures - you'll have to provide some for the article.

jan
 
Well it looks like the 'satisfied' have taken over the thread again. They take 'perfect' pictures with their $100 digital cameras and criticize the earlier efforts of Ansel Adams because his pictures were all black and white. Then they express satisfaction with their sound recordings as being virtually perfect, while the rest of us, with some of the most expensive digital recording equipment presently made, find flaws. Does anyone understand why this is so? '-)
 
Well it looks like the 'satisfied' have taken over the thread again. They take 'perfect' pictures with their $100 digital cameras and criticize the earlier efforts of Ansel Adams because his pictures were all black and white. Then they express satisfaction with their sound recordings as being virtually perfect, while the rest of us, with some of the most expensive digital recording equipment presently made, find flaws. Does anyone understand why this is so? '-)

John one of your poorest examples yet, arguably modern technology has done nothing to improve on the best of Ansel Adams. It's as if we were still struggling to equal the first electrical Blues recordings of Paramount in 1925 or so.
 
Well good, and MY reference would be a 30 ips full track custom made analog tape recorder, or a direct disc made with the best recording equipment.
It is the same, Ansel Adams did NOT use a 'Brownie' or snapshot camera, to make his masterpieces. Most of the 'quality' recordings of the 50's and 60's used all analog of the highest quality, usually tube based. Effort and expense are necessary to make the best.
 
That's very true. But as with all areas of technology, we've made huge amounts of progress, and the performance of those systems can easily be bettered- if by "better" one means "closer to the sound of the direct mike feed." It's sometimes tough for us old guys to get with the program, but the world has moved on since our youth. Progress is a GOOD thing.

I wish good mikes weren't so darned expensive, though...
 
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