In your case the PC is the bad link... To be precise, the power supply.
Try a real optical digital source, on a real transport/player. Eventually something more than just a compressed CD quality from 2004-2011 - try something more like a SACD.
Try a real optical digital source, on a real transport/player. Eventually something more than just a compressed CD quality from 2004-2011 - try something more like a SACD.
erm... yes.... and?
My M Audio Quattro is a similar-ish unit but can do 24/96. Its still not as good as my analogue recorder.
"In your case the PC is the bad link... To be precise, the power supply." Can't really agree with you on that one. Yes the PSU's are not the ultimate but there is separate on card regulation used in both cases.
I will try later to record the same sounds on Tascam US-122 24/96 and compare to professional Panasonic SVHS recorder. It seems to me what I record using US-122 sounds through the same Sennheiser headphones equally: before digitizing, and after D/A conversion.
My samples in previous postings were made using US-122.
The first Stereophile test CD had an excellent demo track showing the differences between mikes. Huge, as one would expect for transducers.
Re: Stereophile test CD track that SY mentioned
Bear - are you saying that in jest? Nothing about that track was subtle. It was always very clear when a mic changed, and the effect was usually similar to dialing large changes on tone controls.
Bear - are you saying that in jest? Nothing about that track was subtle. It was always very clear when a mic changed, and the effect was usually similar to dialing large changes on tone controls.
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In such an environment (closed miking of solo instrument in well damped studio) even cheap Panasonic omni will sound the same. Differences start when you record stereo in nice reverberating environments. But it seems to me condenser mike in that movie was the worst sounding sample.
I can hear the different polar patterns of those mics on headphones. A lot of posters hated the Shure SM-7 and it was my 2nd pick. As an alto sax player, it sounded very real to me.
Still, no doubt about why the Neumann mics get the big bucks.
When you work with a mic day in, day out, you really get a feel for what it can do and when you should use it. It all depends on how you want it to fit in the mix.
Still, no doubt about why the Neumann mics get the big bucks.
When you work with a mic day in, day out, you really get a feel for what it can do and when you should use it. It all depends on how you want it to fit in the mix.
Yes, I was making a joke - note the smiley face? 
Oddly enough some of the better mics didn't sound particularly good on the Stereophile CD...
But that and this have nothing to do with the idea of the OP.
The mics are not the variable...
Has anyone tried putting a pair of mics out their windows?
Does anyone own mics besides SY and Anatoliy??
_-_-bear
Oddly enough some of the better mics didn't sound particularly good on the Stereophile CD...
But that and this have nothing to do with the idea of the OP.
The mics are not the variable...
Has anyone tried putting a pair of mics out their windows?
Does anyone own mics besides SY and Anatoliy??
_-_-bear
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