I suggest you please stop this cut and paste methodology accompanied by absolutely no in depth understanding of the underlying principles. There is just to much here that is just plain wrong. Hire an expert, they're the ones that actually do something.
syn08 and I are in mourning.
EDIT - I share Mr. Vig's transformation with the Who on the Smother's Brothers, there was one other Who live telecast circa 1966 that sealed the deal. Pete ran all the way across the stage and managed to get the guitar neck to come out the other side of his amp for me this was it, no going back.
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Cubase was originaly aimed at the heavy midi users, composers. Protools was for recording. Now there pretty much the same thing and do "everything" with most people using what they started with. The best part of these is the 3rd party plugins.
The extra samples might make the sine wave pictures look nicer, but the added samples offer no extra information beyond that encoded when sampling at the Nyquist frequency. Indeed the extra samples can be regarded as superfluous and can even be generated after the sampling process via an appropriate oversampling filter. Vary the phase of the encoded tone and you will get a different series of sampled levels, with each series providing the correct coding of that tone's amplitude regardless of whether the samples coincide with peak amplitudes or not.
I must agree with you Scott, that most of us lack deep understanding of the digital process. Perhaps it is because we did not learn it extensively at university, or at our place of employment. Just as I never really learned SPICE, although exposed to it since it was first introduced. I just was not immersed in it, and I had no natural inclination to learn it seriously on my own. It is probably the same with Richard Marsh.
However, so what? We both know what we hear when we listen to digital sources, and find that CD's are often disappointing. It is not our imaginations, as many others find the same thing, and improved digital (as well as hi end analog) is available to directly compare to today.
If you, Scott, are satisfied with CD, go for it! It is cost effective these days with thousands of selections available, especially used. Build an extensive library, spend your time listening to music, and not to the playback. But that is not what I want to do, I want to improve digital so that I can be comfortable with it too! At this time, I am not happy with what I have easy access to, so I am going the route that Richard Marsh has done already and gathering improved digital equipment to try. I already have very high quality analog equipment that I can truly enjoy, and perhaps you are happy with what you have, but I doubt that I would be so easily satisfied with what you have as you are.
However, so what? We both know what we hear when we listen to digital sources, and find that CD's are often disappointing. It is not our imaginations, as many others find the same thing, and improved digital (as well as hi end analog) is available to directly compare to today.
If you, Scott, are satisfied with CD, go for it! It is cost effective these days with thousands of selections available, especially used. Build an extensive library, spend your time listening to music, and not to the playback. But that is not what I want to do, I want to improve digital so that I can be comfortable with it too! At this time, I am not happy with what I have easy access to, so I am going the route that Richard Marsh has done already and gathering improved digital equipment to try. I already have very high quality analog equipment that I can truly enjoy, and perhaps you are happy with what you have, but I doubt that I would be so easily satisfied with what you have as you are.
Must be so; they even don't know that these odd B&K microphones are good for nothing ....... 🙂
They do have some DPA mikes but thats amongst a collection of Everything you might need
AEA
R44C – Classic ribbon (2)
AKG
CK1 – Cardioid Capsule for C451 (10)
CK5 – Shielded Capsule for C451 (1)
C12 – Original classic valve (2)
C12VR – Reissue classic valve (2)
C414B-ULS – Large diaphragm condenser (6)
C414B-EB – Large diaphragm condenser (2)
C460 – Condenser (3)
C451 – Cardioid condenser (9)
D12 – Cardioid dynamic (2)
D112 – Cardioid dynamic “the egg” (2)
D190E – Cardioid dynamic (7)
D202ES – Cardioid dynamic (2)
D224ES – Cardioid dynamic (1)
D25 – Cardioid dynamic(2)
BEYER
M160 – Hyper cardioid double ribbon (2)
M201 – Hyper cardioid dynamic (2)
M260N – Hyper cardioid ribbon (2)
BLUE
Blue Bottle – Multi-capsule tube mic system (4)
B4 Capsule – Perspex sphere pressure omni (4)
COLES
4038 – Classic BBC ribbon (10)
B&K/DPA
4006 – Omni small condenser (2)
4003 – Omni small condenser (2)
4007 – Omni small condenser (2)
4011 – Cardioid small condenser (2)
CROWN
PZM – Pressure zone effect (1)
EV
RE15 – Cardioid dynamic (1)
RE20 – Cardioid dynamic (2)
PL80 – Cardioid dynamic (1)
MICROTECH GEFELL
UM900 – Large diaphragm 5-pattern valve (5)
UM75 – large diaphragm multi-pattern valve (3)
UM70 – large diaphragm multi-pattern valve (1)
MANLEY
Valve – large diaphragm multi pattern valve (2)
NAKAMICHI
DM1000 (1)
NEUMANN
U47 Telefunken – Large diaphragm valve (2)
U47 FET – Large diaphragm cardioid FET (5)
U47 FET Re-Issue – Large diaphragm cardioid FET (4)
M49 – Classic large diaphragm multi-pattern valve (3)
M50 – Classic spherical omni valve (3)
M150 – Spherical omni M50 reissue (1)
TLM50 – Spherical omni (4)
U67 – Classic large diaphragm valve (5)
U67 – Re-issue large diaphragm valve (4)
KM83 – Miniature omni FET 80 series (3)
KM84 – Miniature cardioid FET 80 series (9)
KM86 – Miniature selectable FET 80 series (4)
KM184 – Miniature cardioid FET 180 series (1)
U87 – Large diaphragm selectable pattern (12)
U87Ai – Large diaphragm selectable pattern (6)
U89 – Large diaphragm 5 polar patterns (2)
TLM103 – Large diaphragm cardioid (5)
M147 – Large diaphragm cardioid tube (6)
TLM170 – Large diaphragm FET 100 series (2)
TLM170R – Large diaphragm FET 100 series (2)
RESLO
RV – “The bullet” (1)
ROYER
R-121 – Studio Ribbon Microphone (2)
R-122 Mk.I – Active Ribbon Microphone (2)
R-122 Mk.II – Active Ribbon Microphone (2)
SANKEN
CU41 – Cardioid condenser (2)
SCHOEPS
CMC5 – Condenser microphone body (11)
CMC6 – Condenser microphone body (18)
MK2H – Omni capsule (3)
MK2S – Omni capsule (3)
MK4 – Cardioid capsule (7)
MK21 – Wide cardioid capsule (7)
MK21H – Wide cardioid capsule (4)
MK41 – Hyper-cardioid capsule (3)
Schoeps Stereo – Dual Capsule Microphone (1)
SENNHEISER
421 – Cardioid dynamic tom mic (14)
441 – Similar to 421 (3)
MKH20 – Omni condenser (4)
MKH40 – Cardioid condenser (8)
MKH50 – Super-cardioid condenser (2)
MKH461 – Shotgun Microphone (1)
MKH800 – Extended response switch-able condenser (4)
SHURE
SM57 – Classic instrument cardioid dynamic (15)
SM58 – Classic vocal cardioid dynamic (6)
SM7 – Dynamic vocal microphone (1)
BETA58A – Classic vocal cardioid dynamic (2)
BETA91A – Kick Drum Microphone (1)
SONY
C800G – Modern valve (2)
TELEFUNKEN
C12 – Classic valve reissue (2)
I think one would call that bases covered. I should also note I was incorrect in an earlier comment based on reading on my phone. Air studio 3 has a 500 channel Neve Gemini which is the real tool for mixing films. You can bolt pro tools on if you want. Good that they give customers choices across the studios and a sensible business plan given what that building costs to run.
Here's one interesting demonstration regarding HF content above 20kHz when some non linear process in the digital domain is involved.
YouTube
Watch what happens to the noise floor!
The rest of the video is interesting too, although it might be over the head for some since it is more about the modern music production.
YouTube
Watch what happens to the noise floor!
The rest of the video is interesting too, although it might be over the head for some since it is more about the modern music production.
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I think its more if one have the ability to set up red-book replay to the level that one is satisfied with. To just buy an Oppo etc. and hope that you are home free just don't cut it. One has to work a bit and make the right purchases in order to get there. If you haven't heard good CD playback - blame yourself and the player/system - not the format. It can produce wonderful, engaging playback - quite real and believable. And, that "quite" is not turned into "almost" by playing 24/192 - believe me - it just maybe gets you a notch up... however, when you get to "quite", you don't miss it anyway because you are fully engaged in music. But as I said - it's not easy to get there.. and believe me on an other note - just paying you away typically don't fix it either - sorry. You need the ability to pick the units that actually reproduce believable acoustical musical instruments and for that you need to hear the on a regular basis.
This is my experience.
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It would be great to have someone today doing a modern version of Olson's famous experiments of the 1950s
@billshurv,
or, they are just part of the collection of everything that one might need? 😉
As part of my re-boot using the motu m4 as swiss army knife, I'm testing the water using Flac. Surprise- it works perfectly in my Ford 2016 f150 'Sync" sound system including artwork on USB stick. Still need to test the BMW sound system.
The plan is to keep my less used tracks as mp3 and re-rip all Blues, R&B, Soul and Country in Flac. So the library will be a hybrid to keep size reasonable. It will be about 400Gb after completed. Motu M4 DAC likes it too.
The plan is to keep my less used tracks as mp3 and re-rip all Blues, R&B, Soul and Country in Flac. So the library will be a hybrid to keep size reasonable. It will be about 400Gb after completed. Motu M4 DAC likes it too.
John,
Getting better out of CDs is possible, the technology for the reproduction quality you want probably costs similar to what it costs to get equally satisfying reproduction out of phono. Some people here are quite happy with minimal phono setups and other aren't. If someone has (by present replacement value) a $5k turntable and a $5k cartridge that they like, well...
...which is why the use of higher sampling rates is useful when FX are applied within the digital domain. But in the absence of non-linear processes in the domestic part of the replay chain, the same advantage is not required.
I would also add as a point for discussion that on a visit to a mastering suite used extensively by a number of major recording companies and often praised for the quality of their digital remastering work, it became evident that the engineers preferred to use an analogue mastering unit and therefore a DAC and an ADC either side of it. The chain served as the sample rate conversion too.
I would say everything a client might ask for. They are after all in business. that is why you can record to HDD or Studer 2" with dolby SR. Customer is right.
You keep placing dollar numbers on things, I prefer not to. I don't see any clear relationship, there are probably $3000 DAC's with a $100 BOM who would know?
Due to the hyper inflation of the analog revival $10k would only replace my turntable. Would still need arm and cartridge. I couldn't justify anything like that new today.