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Danny's ASR "Will you ACCEPT my Challenge?!"

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Cuniberti

Cuniberti

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He starts by insulting ASR members and then poses a so-call listening challenge. I downloaded the three files and imported them into Pro Tools to listen to and analyze.
Track (A) is 44.1k / 16 Bit.aif file - CD Rip _ I guess this is the "control" sample.
Tracks B & C are recordings of a playback system of that same song made with a stereo mic @ 48K / 24 Bit .wav. These recordings suffer from added room ambiance, noise, and phasing issues. They sound so bad that I can't tell which one was the worse, although (C) had more room noise. I voted and left comments as instructed by Danny, but he deleted them. Not sure what this guy is trying to prove, but I suspect it has to do with his cables and the previous dust-up. Have fun but be ASR respectful.

 
Cuniberti said:
He starts by insulting ASR members and then poses a so-call listening challenge. I downloaded the three files and imported them into Pro Tools to listen to and analyze.
Track (A) is 44.1k / 16 Bit.aif file - CD Rip _ I guess this is the "control" sample.
Tracks B & C are recordings of a playback system of that same song made with a stereo mic @ 48K / 24 Bit .wav. These recordings suffer from added room ambiance, noise, and phasing issues. They sound so bad that I can't tell which one was the worse, although (C) had more room noise. I voted and left comments as instructed by Danny, but he deleted them. Not sure what this guy is trying to prove, but I suspect it has to do with his cables and the previous dust-up. Have fun but be ASR respectful.

Click to expand...
He has viewers to amuse. If he lets our sniping go unanswered, it looks bad.
 
T-shirt looks grubby.
Keith
 
People who post mic recordings of their systems on Youtube are one of the most irritating types of "audiophiles". Even comparing two very different sets of speakers that way is very questionable, the idea of comparing any electronics (let alone cables) that way is beyond laughable.

You might as well try to reach through your computer screen to see how two different pieces of fabric feel.

You know who's never used different cables for different effects on the sound? Musicians or producers. Why? Because it doesn't effing do anything. If it did, they would be doing it constantly. They'd be talking about which cables they used to record this or that instrument. And... they don't. They have actual sound alteration tools that actually do stuff. They don't have time to waste sitting there impressing themselves with how strong their expectation bias is.
 
Yeah -- something about the notion of listening to a recording of this



on, e.g., this



doesn't quite ring true (i.e., doesn't seem quite prudent, at least as a platform upon which to make judgment).
 
mhardy6647 said:
Yeah -- something about the notion of listening to a recording of this



on, e.g., this



doesn't quite ring true (i.e., doesn't seem quite prudent, at least as a platform upon which to make judgment).
Click to expand...


Not just that.....


On my decent system that I CAN play youtube on easily, it still sounds like crap.

A microphone recording of a room playing a system NEVER sounds good, no matter what the mics or playback devices.
The very act of recording a system playing in a room, instantly kills ANY sound it did have.
 
kemmler3D said:
People who post mic recordings of their systems on Youtube are one of the most irritating types of "audiophiles". Even comparing two very different sets of speakers that way is very questionable, the idea of comparing any electronics (let alone cables) that way is beyond laughable.

You might as well try to reach through your computer screen to see how two different pieces of fabric feel.

You know who's never used different cables for different effects on the sound? Musicians or producers. Why? Because it doesn't effing do anything. If it did, they would be doing it constantly. They'd be talking about which cables they used to record this or that instrument. And... they don't. They have actual sound alteration tools that actually do stuff. They don't have time to waste sitting there impressing themselves with how strong their expectation bias is.
Click to expand...
critical thinking is not strong suit of most (if not all) "audiophiles".
 
bait-thats-bait.gif
 
kemmler3D said:
You know who's never used different cables for different effects on the sound? Musicians or producers. Why? Because it doesn't effing do anything. If it did, they would be doing it constantly. They'd be talking about which cables they used to record this or that instrument. And... they don't. They have actual sound alteration tools that actually do stuff. They don't have time to waste sitting there impressing themselves with how strong their expectation bias is.
Click to expand...

Yep. I just use good cables. Some are Belden wire, some are Mogami, some are Canare, some are the generic mill that we used to buy from, when I worked at a cabling company, that was trying to clone Belden for us. Can't hear a difference.

There is a charlatan of note who owns a company that makes home hifi gear, AND he owns a vanity project recording studio, and he likes to promote the idea that DSD sounds "better" than PCM. This of course is nonsense, but every time he does, I post comments asking him why Abbey Road in London, and Blackbird in Nashville don't use DSD if it sounds SO MUCH BETTER. They're two of the most famous and storied recording complexes in the known world, and they use PCM. Is it because they can't afford the hardware? Like they have no financial resources? NOPE. Is it for some other nebulous reason? Don't know. But it seems to me that logic dictates that if it sounded better, Abbey Road, Blackbird, and Capital Records would be all over it.
 
Ricardus said:
Is it for some other nebulous reason? Don't know.
Click to expand...
Pyramix and Sony Sonoma are the only DAWs that can "edit DSD" and they are absolutely horrific, not to mention they actually convert to DXD (pcm) and convert back for any part of the audio which is manipulated in any way.
 
Ricardus said:
Yep. I just use good cables. Some are Belden wire, some are Mogami, some are Canare, some are the generic mill that we used to buy from, when I worked at a cabling company, that was trying to clone Belden for us. Can't hear a difference.

There is a charlatan of note who owns a company that makes home hifi gear, AND he owns a vanity project recording studio, and he likes to promote the idea that DSD sounds "better" than PCM. This of course is nonsense, but every time he does, I post comments asking him why Abbey Road in London, and Blackbird in Nashville don't use DSD if it sounds SO MUCH BETTER. They're two of the most famous and storied recording complexes in the known world, and they use PCM. Is it because they can't afford the hardware? Like they have no financial resources? NOPE. Is it for some other nebulous reason? Don't know. But it seems to me that logic dictates that if it sounded better, Abbey Road, Blackbird, and Capital Records would be all over it.
Click to expand...
DSD sounds better because there aren't little jaggy stairsteps in the output, duh ;)
 
ocinn said:
Pyramix and Sony Sonoma are the only DAWs that can "edit DSD" and they are absolutely horrific, not to mention they actually convert to DXD (pcm) and convert back for any part of the audio which is manipulated in any way.
Click to expand...
Yup. I'm aware. The guy in question in a known liar.
 
Ricardus said:
Yup. I'm aware. The guy in question in a known liar.
Click to expand...
Using DSD in your recording studio is actually a really smart move for someone who doesn't know what they're doing beyond mic placement and gain staging.

That way, your clients come in wanting help with the mix or EQ or whatever, and you don't know how to do that, but can just say "oh, sorry, can't really edit DSD but just listen to the warmth! what a great recording!" boom, you do nothing but get to claim you know what you're doing anyway. Brilliant.
 
kemmler3D said:
Using DSD in your recording studio is actually a really smart move for someone who doesn't know what they're doing beyond mic placement and gain staging.

That way, your clients come in wanting help with the mix or EQ or whatever, and you don't know how to do that, but can just say "oh, sorry, can't really edit DSD but just listen to the warmth! what a great recording!" boom, you do nothing but get to claim you know what you're doing anyway. Brilliant.
Click to expand...
There is that...
 
Liya said:
unless you play bass in Bon Jovi
Click to expand...
The exception that proves the rule, I guess. To be fair, at 50 feet, you can at least make a rational argument that loss from resistance could begin to be audible.

My comment was more about people using this or that exotic interconnect in their patch bays to produce a certain sound. And I am sure you could find such crazy people without looking too hard, sadly.

But cables "with a sound" are really not a thing in the production world, and rightly so.
 
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