Akasha
pfm Member
It's by Herbie Hancock and AFAIK not on A&M
Warner Music
It's by Herbie Hancock and AFAIK not on A&M
Far mic recordings lose detail.
I'm in for detail. Soundstage takes a far second place to me.
Michael
I find it very hard to imagine that there is any real depth in modern recorded popular music. What you hear there is mostly digital sound processing today. Every instrument and singer is normally recorded with single mics and then mixed together, with additional reverb to produce the desired "distance" and panning for L/R separation.
I said it some time ago: try a real "one point" recording, e.g. Denon Mahler cycle from 1985-1990s, done with only 2 omni mics above the orchestra. There is so much depth from about 3 m (singers in vocal symphonies) over around 8m (violin soloists etc.) to 12-20m (brass, background choir) it's real a feast. I like these recordings very much, but beware of Pre-emphasis. Later recordings of Shostakovitch e.g. are very good, too. As far as I know today only very few labels are courageous enough to record with so "simple" means because, as is naturally, you can "fix" nothing afterwards - no mixing in of different takes, no exchanging of wrong notes, no "optimizing" of level abd position of single instruments.
I find it very hard to imagine that there is any real depth in modern recorded popular music. What you hear there is mostly digital sound processing today. Every instrument and singer is normally recorded with single mics and then mixed together, with additional reverb to produce the desired "distance" and panning for L/R separation.
I said it some time ago: try a real "one point" recording, e.g. Denon Mahler cycle from 1985-1990s, done with only 2 omni mics above the orchestra. There is so much depth from about 3 m (singers in vocal symphonies) over around 8m (violin soloists etc.) to 12-20m (brass, background choir) it's real a feast. I like these recordings very much, but beware of Pre-emphasis. Later recordings of Shostakovitch e.g. are very good, too. As far as I know today only very few labels are courageous enough to record with so "simple" means because, as is naturally, you can "fix" nothing afterwards - no mixing in of different takes, no exchanging of wrong notes, no "optimizing" of level abd position of single instruments.
Especially Mahler No.4 is definitely only made with those 2 mics, the other ones have 1 or 2 additional mics here and there at some portions of the score only.
Re. Pop/Jazz records there are some Chesky records done in this way (Sara K. e.g.). But for most listeners these recordings sound "dull" because the instruments are much farther away and more dynamic than they are used to. If I listen to a "modern" recording after a Chesky or Denon I have to reduce level by 6-10db because everything is loudness "optimized" by compressors.
Perhaps Jonny Lang does use minimal techniques, I don't know, but very much doubt it because the labels seems to be A&M, not known for a fidelity approach.
Here's a link, but only German as it seems:
http://de.wikipedia.org/wiki/One-Point-Stereosystem
Oh NOOOOO - I can share mine!... Like the fact the best reasonable priced Polypropylene capacitors had been discontinued when BH components was bought out by Vishay of all people! (The Blue Polypropylene's in the earlier picture).
The Wima's used now are really a distant second best - but what to do
I said it some time ago: try a real "one point" recording, e.g. Denon Mahler cycle from 1985-1990s, done with only 2 omni mics above the orchestra. There is so much depth from about 3 m (singers in vocal symphonies) over around 8m (violin soloists etc.) to 12-20m (brass, background choir) it's real a feast. I like these recordings very much, but beware of Pre-emphasis.
Hi John, did you manage to get them shipped...?
WAD, Simonmo & JohanH,
Still working on them - hopefully I'll be able to ship tomorrow - I'm becoming a little uneasy about these Dales - Please just bare with a little long ...
Great - I'm really keen to try ASAP - these dales worry me a little.
Well, both my MDAC and the resistors could arrive tomorrow.
WAD, Simonmo & JohanH,
Sorry really battling to get your units out - just keep hitting troubles with Simon & JohanH units (WAD, I've still not had a chance to performed final tests on your unit yet).
Still working on them - hopefully I'll be able to ship tomorrow - I'm becoming a little uneasy about these Dales - Please just bare with me a little longer ...
That would be brilliant!
I've been using Jems Silver MDAC during the recent fine tuning with the resistors - and yet black MDAC's just don't sound as good - its totally crazy.. I'm pulling my haircut trying to understand what's going on.
I noticed this earlier - but thought I was imagining it!
The only difference I can see between the PCB is Jem's unit used a different brand of MELF SMT resistors in the analogue stage (His MDAC's 220R resistors are a light Brown in colour)- while the 2 black units I'm currently working on use Light Blue coloured resistors).
If its not these resistors that are effecting the SQ between the Silver & Black units - then I'm lost..
Once I can start to play with the Bulk Film resistors - this will give me an idea what if ANY effect these resistor positions have on Sound quality.
Hi John,
Speaking for myself only, you're the Doctor, and if you need more time, so be it, absolutely.
Thanks for letting me/us know.
(Can you say anything more about the issue? I'm curious, nothing more.)
Simon
If you compare the Stockfish and Chesky records, the Chesky have got the double amount of dynamics, Stockfish sounds comparatively unnatural and compressed to me. I would prefer the well-miked recording in CD-quality over not-so-good in high-bit any time. Although Stockfish is really not bad.Stockfisch have Allan Taylor and Sara K in CD/SACD and Blu-ray http://www.stockfisch-records.de/pages_art/sf12_sarak_e.html "Play On Words" sounds promising on the Amazon samples, but that's on Chesky.
Very easy with a small script in foobar2000, select the folder and convert to de-emphasized in about 10sec for an album: %s --multi-threaded --add-comment "deemphasized" %d deemphAs you wrote, beware! I own Imbal's version of Mahler's 3rd Symphony, which is part of the recordings you mention... These CDs are do have pre-emphasis, which prevents using the original MDAC firmware, unless one is careful to rip on a computer and then have fun with Sox or similar tools
Very right!Far mic recordings have optimum details on a good system, natural timbre, micro details and true concert hall reverb
Far or close, It's just got to be dynamic, undistorted ( when not appropriate ) and believable, I hate when the producer ****s up with several different reverb characters
Seems this guy have some ?, although I would not call them reasonably priced anymore, but he is open for larger quantity sales:
http://rover.ebay.com/rover/1/710-5...0001&campid=5338728743&icep_item=321133961238
John do you mind if I change to these or maybe some ROE KP1832 I have, to see if my L2 will be even better?
Edit: no more KP1832 47n, only 33nF, and boy those are too big anyway (size)
Doesn't your reference L2 unit have black front panel?That would be brilliant!
I've been using Jems Silver MDAC during the recent fine tuning with the resistors - and yet black MDAC's just don't sound as good - its totally crazy.. I'm pulling my haircut trying to understand what's going on.