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Looks like killdozer was right
Killdozer wrote many things.
What specifically was killdozer right about?
Looks like killdozer was right
I heard you were a horny type guy.They have big horn speakers; I have big horn speakers. What's not to like?
Are you sure about that? Like a dirty volume pot or switch, the issue is usually noise and an unstable level change.Also... relay contacts. My AVR is 2db down on the right channel due to relay contact oxidation. Audyssey compensates but still.
511s are decent size. If my music room had been a lot larger, I might have wedged some 1803 multicells in. Probably best I didn't though lol.I heard you were a horny type guy.
I've got smaller horns but still can be very dangerous. LOL
I gotta' laugh a bit reading comments here - thanks for that... the idea that recordings could/might/can be made to sound as 'real' as they did,
or even laughably MORE REAL than they did when the original recordings were made/performed/recorded is (to me) simply effing hilarious... ain't gonna' happen...
Here's the rub---microphones are transducers, like speakers functioning in reverse, really more like phono cartridges. Instead of electrical impulses creating changes in sound pressure levels, changes in sound pressure levels create electrical impulses. So, the colorations of the microphones impose themselves on the recording. Those purist recordings of Decca, EMI and RCA in the distant past are still colored by the selection of microphones. Speaking from experience, a couple two three of Neumann's finest will not reproduce the sound of a live performance, even if only two or three are being used in an ORTF or Decca microphone tree configuration. And the majors, like Decca and RCA, figured out that two or three microphones were not enough to capture all the sounds of a symphony orchestra pretty early. I made a fair number of recordings of symphony orchestras for radio and usually used six microphones. If I could have used more, I would have. I've been present at recording sessions of symphony orchestras run by highly regarded recording engineers, they used something like 11 different microphones, selected for their particular sonic qualities. While the design and manufacture of recording gear is a science, recording is an art.When a recording is done in different studios, at different times, with none of the musicians ever playing together, there is no 'performance' to be recorded. The 'performance' is entirely created artificially. A very few recordings, like the Jazz At The Pawnshop series were actually recorded live, straight to stereo (Nagra recorder)
Orchestral recordings, notably Decca, were done as a full orchestra and with only a few microphones. Everything else since the invention of multi-track recorders has been assembled from individual recordings. Even highly regarded 'purist' classical recordings have been assembled from many different takes. One exception are Nimbus, who claim to use the edit to save a special preformance, not to creat one.
Consequently, trying to recreate a 'live' experience at home is pretty much futile as few recordings have ever been made that way.
S.
Or more delusion....altho this kind of apartment comes to minda brief moment of clarity randomly tossed into the delusion/insanity...
When a recording is done in different studios, at different times, with none of the musicians ever playing together, there is no 'performance' to be recorded. The 'performance' is entirely created artificially. A very few recordings, like the Jazz At The Pawnshop series were actually recorded live, straight to stereo (Nagra recorder)
Orchestral recordings, notably Decca, were done as a full orchestra and with only a few microphones. Everything else since the invention of multi-track recorders has been assembled from individual recordings. Even highly regarded 'purist' classical recordings have been assembled from many different takes. One exception are Nimbus, who claim to use the edit to save a special preformance, not to creat one.
Consequently, trying to recreate a 'live' experience at home is pretty much futile as few recordings have ever been made that way.
S.
I have been to a lot of concerts in my life. Small venues to very large ones that still sound good. The last big, but yet great concert was Prince for me.If you can get over laughing long enough....
So is it your position that some recordings can't be manipulated to sound more natural/realistic?
Do you have any experience in this area?
Oh absolutely. Relay contacts exhibit a couple hundred milliohms of resistance for that speaker. I use an outboard amp now so it is not an issue. One day I will take the relay out and clean it.I heard you were a horny type guy.
I've got smaller horns but still can be very dangerous. LOL
Are you sure about that? Like a dirty volume pot or switch, the issue is usually noise and an unstable level change.
exactly......Speaking from experience, a couple two three of Neumann's finest will not reproduce the sound of a live performance, even if only two or three are being used in an ORTF or Decca microphone tree configuration. And the majors, like Decca and RCA, figured out that two or three microphones were not enough to capture all the sounds of a symphony orchestra pretty early...
511s are decent size. If my music room had been a lot larger, I might have wedged some 1803 multicells in. Probably best I didn't though lol.
Killdozer wrote many things.
What specifically was killdozer right about?
yes......Do you have any experience in this area?...
yes...
I used to go with this idea pretty uncritically. More fidelity is always good. Fidelity is a relative concept, a reproduction has to have fidelity to an original.I think the idea is try to recreate the experience of the studio monitoring of the final mastered mix.
Good luck with that.
Hopefully their kids practicing scales on the french horn...or a partner recounting their day...anything but recordings.Perhaps the sound in the mastering suite is the best and most definitive version of any recording. But what does the mastering engineer listen to when they go home at night?
The final mix is a compromise between the playback devices that are expected to be used. The mastering engineer listen to the mix on his car system, and perhaps plays it on airpods when he gets home. There is no ideal mix, and popular music isn't mixed for the audiophile. They don't mix for what they consider the best sound in their studio.