Give those old spring reverbs a good whack and they sound great!
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Daniel Htz. Only ones that understand digital vs analog?
- Thread starter ErVikingo
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Give those old spring reverbs a good whack and they sound great!
I’m not sure the spring reverb sounds great musically, but the spring reverb sounds clever electromechanically and it is worth honoring those old engineers with a modern listen.
There are times where classic engineering was quite impressive. Just think of SaturnV versus Starship, or Kenwood L-08 adopting maximum negative feedback from early on.
They sounded OK if you didn't get too deep into the reverb.
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I get to the point where home audio is basically a done deal. How uninteresting. Nothing new under the sun, and you can buy electronic perfection for very little money. (With the exception of loudspeakers, of course, where it is still a jungle.)
Interesting developments are in the pro/musical instrument area. For less than a five hundred dollars, you can get all the flexibility you need--to the point of anarchy. Yet for thirty thousand of dollars Mark doesn't even include a balance control. How can you listen to your hi-fi without a balance control?
A couple of screens from the inexpensive Katana software interface:
DSJR
Major Contributor
But eq and (pre/post) echo is what vinyl reproduction at all levels does so well (just listen to the 'unspoken channel' when something hard left or right is playing...).
I'll get me coat
Yes, it's certainly getting easier to do serious music production right in your own basement.
LOL. Everybody with technical intellectual capability can understand digital and analog. It was Heinrich Hertz who found analog radio wave transmission.We mock, but what if Daniel Htz are the only ones that understand digital vs analog. That leaves us in a technical quandary. Which of us dares admit the truth
Well, if one believes in Mark Levinson, fine. But it is not to be taken as truth what Mark thinks to know. By the way, all the mathematical theory of digitizing works also in reality. Also right, real analog is the only analog representaiton of a signal. All other is just code and will never be the same original analog signal. So, whatever Mark does with the coded sound, it is not and will never be the real analog.
Did not know this, but the first one? Anyway, funny a sentence from one of the Daniel Hertz webpage.
"The Maria 50, powered by the Daniel Hertz Mighty Cat™ amplifier chip with embedded C-Wave™ technology, delivers sound better than pure analog from any analog or digital source, including streaming."
This would mean that an analog signal from a live event without the signal storaged, just only routed to "Maria 50" would sound better than the original analog signal. Hmmm ???
"The Maria 50, powered by the Daniel Hertz Mighty Cat™ amplifier chip with embedded C-Wave™ technology, delivers sound better than pure analog from any analog or digital source, including streaming."
This would mean that an analog signal from a live event without the signal storaged, just only routed to "Maria 50" would sound better than the original analog signal. Hmmm ???
mhardy6647
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I have one of these down in the basement
(doesn't everybody?)
(borrowed internet photo -- but the same generation of reverb amp from the nice folks at Fukuin/Pioneer)
I mean, I could send it out west...
It's very analog, I'll tell you that!
(doesn't everybody?)
(borrowed internet photo -- but the same generation of reverb amp from the nice folks at Fukuin/Pioneer)
I mean, I could send it out west...
It's very analog, I'll tell you that!
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I read this, 10 mins later I see Bosch investing $1.5B in a TSI Semiconductor.
“With the acquisition of TSI Semiconductors, we are establishing manufacturing capacity for silicon carbide (SiC) chips in an important sales market while also increasing our semiconductor manufacturing, globally,” Stefan Hartung, chairman of the Bosch board of management, said in a statement.
Silicon carbide semiconductors can operate at higher temperatures, voltages, and frequencies compared to other semiconductors, making them more efficient for use across solar-powered devices, electric vehicles, aerospace applications, and other applications such as 5G.
Gotta love compound semiconductors. Their lattice strain is our gain!
When I have time, I may write something about recording engineer/studio artificial reverb/echo.
Tastefully applied - by a skilled engineer judged by them in a clean monitoring environment - using well designed spring echo, even a good plug-in, can be musically valuable.
It should not be a bus effect built into snake oil processors for home playback!
Tastefully applied - by a skilled engineer judged by them in a clean monitoring environment - using well designed spring echo, even a good plug-in, can be musically valuable.
It should not be a bus effect built into snake oil processors for home playback!
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Generally, we often think of classical recordings as more 'pure', when compared to pop/rock, and the other 'modern' stuff. And it is true, as far as it goes. Yet for the most part, classical recordings are 'mixed and matched' not unlike pop material, often with less desirable effect. Exceptions would be early radio air-check type recordings done live (think 'historical' classical and jazz 78 rpm records), or more recent (but now mostly discontinued) direct to disc analog productions.
In my decades long interaction with Peter Aczel, I assembled some of our correspondence into an article for his Audio Critic Webzene, It was of course necessarily truncated and highly edited, and our discussions discussed recordings as much as gear. I mentioned a then recent Met Ring, and its 'sterile' (to me) sound. Aczel replied by discussing things he had learnt from his long-standing relationship with classical record producer Max Wilcox, and mentioned the latter's use of reverb, along with other's use of compression:
Q: I’d like to share an experience. Once, while listening to the Levine/Met Ring, I immediately became aware of something unusual, something I’d not really thought about before. The sound coming from my speakers had absolutely no background artifacts. With records, there is always something extraneous going on in the quiet passages. At a live performance there is always something in the background, even if it is just audience noise. On the various Bayreuth live recordings one hears stage artifacts, most notably within quiet passages. However, the sound of my “studio” Ring, while pristine, seemed almost artificial—artificial not because of what was there musically, but because of what was not there. Also, with, say, an LP record, dynamics are compressed. Yet, with the DGG Levine Ring I can listen at relatively loud levels in order to enjoy quieter passages. As the music grows louder, I must adjust the volume down. You speak of this latter situation in your review of Mr. Alexander’s recordings for Water Lily Acoustics. Could it be that PCM technology is, in a strange way, too good? Or is this maybe just an argument for more “live” recording, and recordings where the engineer, to use your words, employs a “judicious raising of the dynamic floor and lowering of the ceiling”?
A: Your Levine/Met recordings of the Ring sound a bit sterile because they were made in Manhattan Center (New York), which is an acoustically rather dead venue. In 1989, Max Wilcox produced a wonderful-sounding recording of the Mahler 5th (Mehta/NY on Teldec, released 1990) in that same Manhattan Center. He added some very subtle artificial reverb, which is not at all perceptible as such but makes the sound come alive...
I would not, however, call your 'bus effect processing' an example of 'snake oil'. Perhaps it's just a matter of semantics, though. Processors, whether one likes their effects or not, actually do something. So you are paying for an actual sonic artifact.
In my understanding, snake oil product is something marketed as producing a beneficial effect, but which essentially does nothing at all, like cable risers and magic bricks.
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People say that engineering is cut and dry, an intellectual objective thing. But who knew that it can inspire poetry rhymes?
I'm a poet but I had no idea?
HiI have one of these down in the basement
(doesn't everybody?)
(borrowed internet photo -- but the same generation of reverb amp from the nice folks at Fukuin/Pioneer)
I mean, I could send it out west...
It's very analog, I'll tell you that!
My dad had one, perhaps it is still somewhere in the house..
Back to the thread.
Mark Levinson, the person , has seen a lot. One of the thing is that he lost the right to use his name on any electronics equipment and his company Mark Levinson was acquired by a company called Madrigal Audio. Madrigal was partly owned by Mike Kay of Lyric Audio fame (or was it his wife?). Harman acquired Madrigal thus Mark Levinson Audio along with a slew of other companies (JBL, Revel?, Lexicon, AKG, etc.) ... Samsung acquired Harman..
Mark Levinson , the man, has seen how some of his "competitors" or imitators rebound. One comes to mind: Dan D'Agostino, who founded Krell Audio Industries, was for all practical purposes, Krell.. then was pushed out, his entire family, son included was shown the door. The son founded Bully Audio who wasn't that succesful, he passed away a few years ago (RIP). Dan went on his own, he didn't lose his name, and founded D'Agostino, them of the steampunk aesthetic Momentum amplifiers.. He knows the High End As well as Mark, but he can name on his company and his product. Mark can't ... but Mark has seen it all: From the early days of High ENd Audio in the late 70's/early 80's when there were some research, and some good circuit designs in the High End, to now where, if-it-is-expensive-it-will-sell, kind of mentality. He tried with Cello. that didn't work too well... so now he is back trying to sell.. anything...
He's trying , that much we can can grant him. He knows as well as anyone, he is selling B.S. He has sold numerous flavor of Bovine Manure.
Peace.
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