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Multi-Way Conventional loudspeakers with crossovers

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Old 3rd July 2012, 07:06 PM   #71
puppet is offline puppet  United States
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Originally Posted by StigErik View Post
It's more like 10 dB louder today than in the "good old days"....
... makes me smile :P
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Old 3rd July 2012, 07:22 PM   #72
DrDyna is offline DrDyna  United States
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... makes me smile :P
It's true, as technology got better and noise floors got lower, you'd expect them to reduce the levels, but instead levels just keep getting higher and higher.
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Old 3rd July 2012, 08:14 PM   #73
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doesnt this mastering level similarity in early CDs, just have more to do with the dynamic range of the AAD or vinyl mastering processes, due to cross over in media. While the dynamic range is good, the master cut platter is fed at a level, where peaks will not skip the cutter. Real vinyl dynamic range and quality is IME only found on heavy weight pressings being the best 12" 45 anyone? I guess during the CD Vinyl transition, both media came from the same master.
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Old 3rd July 2012, 08:29 PM   #74
DrDyna is offline DrDyna  United States
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Originally Posted by mondogenerator View Post
doesnt this mastering level similarity in early CDs, just have more to do with the dynamic range of the AAD or vinyl mastering processes, due to cross over in media. While the dynamic range is good, the master cut platter is fed at a level, where peaks will not skip the cutter. Real vinyl dynamic range and quality is IME only found on heavy weight pressings being the best 12" 45 anyone? I guess during the CD Vinyl transition, both media came from the same master.
This is true, but my point was that the whole idea of digital media when it was first conceived - and one of the major selling points was reducing noise.

During the cd-vinyl transition (something that still bugs be, but that's another discussion) an effort should be made to use as much of the dynamic range as they can...but rather than do that, they seem to prefer "compress it so it doesn't move and crank it up so it sounds louder" and rely on the fact that the general public will feel a recording "sounds better" because when they play it, it's level is right in your face.

Blah, we're way off topic here, methinks.
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Old 3rd July 2012, 08:30 PM   #75
tvrgeek is offline tvrgeek  United States
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Originally Posted by mondogenerator View Post
doesnt this mastering level similarity in early CDs, just have more to do with the dynamic range of the AAD or vinyl mastering processes, due to cross over in media. While the dynamic range is good, the master cut platter is fed at a level, where peaks will not skip the cutter. Real vinyl dynamic range and quality is IME only found on heavy weight pressings being the best 12" 45 anyone? I guess during the CD Vinyl transition, both media came from the same master.
A great amount of the CD releases were off the analog master tapes. Their quality varied from fantastic to horrid. Even Sheffield kept a half-track of all their sessions from D2D which is what the CD's are made from. Also remember, the first SONY mastering systems were 14 bit. Some of them were used a long time. Making a CD from a record is another problem. It takes me several days. A great LP has about 65 dB dynamic range. I play with it a little, play with the eq, play with many different pop settings, and some filtering. I get a pretty good copy, but I am sure not as good as the studio processing labeled as "digitally remastered". I only bother on LPs that will never be re-released on CD. Much cheaper to just buy the new CD.
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Old 3rd July 2012, 08:35 PM   #76
DrDyna is offline DrDyna  United States
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I play with it a little, play with the eq, play with many different pop settings, and some filtering. I get a pretty good copy
I'd love to hear some of those, flac em up for us!
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Old 3rd July 2012, 10:48 PM   #77
tvrgeek is offline tvrgeek  United States
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I'd love to hear some of those, flac em up for us!
Well, that would violate the copyright laws. If you knew who I was, you would see why that is a no-go from the git-go. Sorry.
Gold Wave and Grove Mechanic are the tool kit I use. For the Al Jolson 78's, I did the recording using the Lenco wet process. The rest just did a careful clean first. I wish I had the Jolson's, but the CD's were lost. I still have the original Perl Street Jazz Band from when they were just high school kids playing in Boulder. Terrible recording, but fun.
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Old 3rd July 2012, 10:56 PM   #78
tvrgeek is offline tvrgeek  United States
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Anyway, playing with the Fostex FF125's some more; they do fine to about 5K. This may just be the next project to compare a small ribbon to a decent dome/ring. I have a pair of XT25 Vifa ring and a pair of Seas soft domes. I'd use an electronic crossover for the test. I am starting to see more and more AMT's out there. With the new magnets, has their time finally come?

Back to making sawdust. It is still over 100 in the garage, so I can only do a little at a time.
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Old 4th July 2012, 12:36 AM   #79
RAART is offline RAART  Canada
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Hello Mondogen,

thank you! I got your PM and I saw the link here too... Today also I got the postal office message that the Fountek arrived. Will pick them up tomorrow. Talk to you guys soon.

P.S. need to finish my first project soon (upgrading the KEF iQ30 x-over) them will start on Jordan/Fountek project.

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Old 4th July 2012, 07:45 AM   #80
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Old vs new mastering style...
The first track is from Californication by Red Hot Chili Peppers, released in 1999. The second is from Blood Sugar Sex Magic by the same band, released 1991.

Californication was regarded as extremely loud when it was released, but in fact things are even louder than that these days. Californication is still listenable though, if you turn the volume 10-15 dB down. Blood Sugar ... is properly mastered, and it sounds a lot better.
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