Regarding Kavi Alexander, high BW mics, neutral (accurate?) sound and all that's related.
Just the plain facts, nothing else.
Straight from the horse's mouth:
Kavi Alexander, Part 2 | PS Audio
Just the plain facts, nothing else.
Straight from the horse's mouth:
Kavi Alexander, Part 2 | PS Audio
511 - Rupert Neve Mic Pre with Texture for the 500 Series
5059 Satellite: Rupert Neve Designed 16x2+2 Summing Mixer
Now what?
Last edited:
A follow up on that Neve 511 mic pre:
Neve Portico Pre-amplifier Design Schematic and Observations
Draw your own conclusions. 😉
Neve Portico Pre-amplifier Design Schematic and Observations
Draw your own conclusions. 😉
Last edited:
The envelop of each sine is flat. Since they have different frequencies the add in and out of phase. The combined envelop is thus not flat.
/örjan
My original post and the reiteration that you've partly cited above were conditionals; stripping that part exchanges the meaning of the message.
But, the questions are still unresolved and further (it might look unlikely 🙂 ) sometimes there may be new members who haven't read about it.
So some first hand experiences can't do harm.
In addition should we really abandon all (already repeated hundreds of times) information from the past because of that reason?
I've said it a few times in the recent months, it seems that we have to start every time from point zero, even if it is the same group discussing again the same topic; maybe it has to (at least for the new members). 😉
What I'm disappointed is that Ed hasn't beat us over the head with hf propagation loss. All this localization/HF spectra can be made in a mix (audible, dunno) but goodness knows if you're losing an enormous amount above and beyond 1/r at even moderate distances. Where's the energy to make this discussion even relevant, unless we're talking synthetic music, where no basis for realism is expected.
I am fairly sure I have celebrated the winter holidays, much less everything else, since this discussion of wider bandwidth, localization, rise time, etc started. There's nothing to be gained here, nothing that rocks the junior-level signals classes I taught just a couple years ago. Just a few folks talking past each other in new and fantastic ways and subsequently getting frustrated by a reaction to a reaction to yet a third reaction to something that was described in a way that either didn't satisfy reader or was unclear for whatever reason. Surely there has to be more fruitful pastures to graze upon? Sisyphus long since contacted out rock rolling to y'all...
I am fairly sure I have celebrated the winter holidays, much less everything else, since this discussion of wider bandwidth, localization, rise time, etc started. There's nothing to be gained here, nothing that rocks the junior-level signals classes I taught just a couple years ago. Just a few folks talking past each other in new and fantastic ways and subsequently getting frustrated by a reaction to a reaction to yet a third reaction to something that was described in a way that either didn't satisfy reader or was unclear for whatever reason. Surely there has to be more fruitful pastures to graze upon? Sisyphus long since contacted out rock rolling to y'all...
As I said, you are reading too much into a throw away comment from Scott who has known John for decades. Banter, Craic, whatever you want to call it. I made a mistake of responding. I won't any more.
The "Wife and her love to Beethoven" story is the explanation most often mentioned, but it seems that nobody is able to confirm it.
Another (quite plausible) one is, that although both Sony and Philips were partners as they knew, standardization of the new format was the only route to success, that Sony didn't want Philips to have an advantage being the only manufacturer of the new CDs ready to start (Polydor was part of the Philips group) so some reasoning must be found.
IIRC the latest information on that was a report about some recent meetings of the people leading the technical groups on both sides and they both confirmed not to know the reason for the physical size change, but both agreed, the "Beethoven story" was a really nice one......
I have a Greek friend that prefers Bulgarian sirene, but I like Greek feta, with Kalamata olives 😉
I would have thought the physical size would have been determined more by the track widths and the ability of the reader and associated electronics of the day (development took place in the early 1980’s and leveraged the laserdisc technology as well) to track with low bit rate errors.
CD’s cost 2x LP’s for the first few years and besides the ROI requirements, justified because you could fit more material onto a CD.
The ‘brand’ guys at both companies of course could have spun this with the Beethoven story.
CD’s cost 2x LP’s for the first few years and besides the ROI requirements, justified because you could fit more material onto a CD.
The ‘brand’ guys at both companies of course could have spun this with the Beethoven story.
DSoTM
Howie: So many questions, but first off best wishes for a speedy recovery. Knees are kind of vital to bipeds!
Howie: So many questions, but first off best wishes for a speedy recovery. Knees are kind of vital to bipeds!
Dumb question here. As the masters were digital didn't you keep them on record? I'd always assumed once done once you hit a button and a replicate glass master was made? Also how were the masters compared? Again another assumption that you had a mastering suite on site.
He is a bit larger than you might expect!
What happened to this, was it released?
Once a year as a guilty pleasure is still allowable.
These forum interactions are always kind of amazing; now that I was responding to your critic (and why I think these repetition are still useful), you're going back to the start.... 🙂
@Bonsai,
The details were already fixes and that was apparently the reason why any change in the storage capacity must lead to a change of the physical size of the disc.
Following the argument of the start advantage (Philips already had the manufacturing plant for the smaller sized CD version ) it made sense. Philips otoh knowing that they need the goodwill from Sony to delay the introduction of their CD playser to several markets until Philips had solved their disadvantage due to the 14-Bit converters (it took some time to realize the oversampling IC), it could have been part of the agreement.
One of the first CDs I've bought at that time was Clapton's "Money and Cigarettes" running time ~38 minutes. At least in Germany the justification for the higher price wasn't coupled to the promise of more content.
Many here are into audio fun not "audio development" (whatever that is) some say they are into audio development but I suspect they are into audio confusion (for "fun"?)
“ One of the first CDs I've bought at that time was Clapton's "Money and Cigarettes" running time ~38 minutes. At least in Germany the justification for the higher price wasn't coupled to the promise of more content”
Of course - but perhaps I should have been clearer - if it did come up that could have been put on the table (though not in the type of example you quote of course!).
CD did well initially because it was convenient, suffered no noise problems and was robust compared to vinyl and tape. A lot of audiophiles decry it’s sound quality, but those were real selling points in the day. And pitted against the average music listeners cheap turntable and grotesque pickups, it was a revelation even at 14 bits.
Of course - but perhaps I should have been clearer - if it did come up that could have been put on the table (though not in the type of example you quote of course!).
CD did well initially because it was convenient, suffered no noise problems and was robust compared to vinyl and tape. A lot of audiophiles decry it’s sound quality, but those were real selling points in the day. And pitted against the average music listeners cheap turntable and grotesque pickups, it was a revelation even at 14 bits.
One problem with audio CD is that it comes mainly in a single flavor. Vinyl comes in regular flavor for the people and limited release haute couture stuff such as half speed mastering, direct to disc, etc. to satisfy the craving of exclusivity.
I would be interested in some further explanation about how/why the recent discussion on guitar pluck transient was, according to John, about localisation.