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HiFi tuning Foo-uses

Your assumption is that studios are trying to achieve the ultimate playback quality and would do everything they could to achieve that. I don't believe that's a correct assumption, many productions are mastered in the nearfield on those little white-coned Yamaha speakers spaced about 4 feet apart :D

I went to a Kate Rusby concert and in the first half the sound was dreadful (far too bright and the vocals not audible). I told the man at the sound desk and it was fine in the second half. I mentioned this to the Technical Director of the theatre and he said most sound engineers had dodgy hearing because of over-exposure to loud volumes.

Nic P
 
Your assumption is that studios are trying to achieve the ultimate playback quality and would do everything they could to achieve that. I don't believe that's a correct assumption, many productions are mastered in the nearfield on those little white-coned Yamaha speakers spaced about 4 feet apart :D

if engineers are so bad why do audiophiles buy expensive hi fi or hd 24/192 khz expensive studio master downloads.....?

i have never seen anyone mastering on ns 10's alone either.....!!!

maybe you have.:)
 
if engineers are so bad why do audiophiles buy expensive hi fi or hd 24/192 khz expensive studio master downloads.....?

To get the best out of what's available?

<just kidding, I'm all for hi-res and believe it's clearly the future>
 
To get the best out of what's available?

<just kidding, I'm all for hi-res and believe it's clearly the future>

a better bad recording.....very good.

or a better hi fi that plays the recordings as they should sound not adding pace, bass punch and numerous other intangibles to the recording....i've said many times i have no problem playing back any recordings and being over whelmed by any flaws in the recording even if for instance i want some better sounding recordings of charlie parker....when i owned a certain load of flat earth stuff i found only certain things where remotely palatable...i'm of the opinion the playback is the weak link.

fuses don't come into it for me not on my radar....extreme audiophilia means less musical enjoyment.
 
Personally, I'm all for playback systems not adding or losing portions of the signal as it's the only hope to get things right even though the same happens upstream. We certainly need to continue the attack from both ends.

Fuse swapping or other minutia IMO is harmless and perhaps a cost-effective way to make improvements (or positive differences) for end-users considering the ridiculous price of everything these days. I really don't see the harm in it unless someone compromises their safety or the safe operation of their equipment.

If others don't agree, that's fine, I just don't see a need to attack the individual for finding a low-cost way to improve his sound (imaginary or real)

regards,

dave

Genuinely Nice Guy who won't shove atheism up your ass if you don't shove Jesus up his.
 
fuses don't come into it for me not on my radar....extreme audiophilia means less musical enjoyment.

Just a thought...maybe your comment is symptomatic of some of the attitudes on the "pro" side of the recording industry and explains why much of their combined output continues to go downhill in quality -an unwillingness to pay attention to *all* details because some are deemed "insignificant" or "don't matter" ?

(no one including me is suggesting all things matter -just what does matter -matters)
 
Several times, when moving mics and mixing desks.

You really have little idea of the level of contempt with which the hi-fi crowd is viewed by the professionals.

Maybe so, however can I cite the case of David Gilmour's studio, where they've apparently re-cabled the whole place with Kimber products (mains and signal) from Russ Andrew/Kimber...... are they un-professional?
 
The problem doesn't really lie in the quality of the recording/mixing.
The problem is in the knob head mastering-oddly enough this is where you find more 'domestic' type audiophile amps and speakers employed.
 
Maybe so, however can I cite the case of David Gilmour's studio, where they've apparently re-cabled the whole place with Kimber products (mains and signal) from Russ Andrew/Kimber...... are they un-professional?

Astoria also uses Mana stands unless something's changed.
 
Astoria also uses Mana stands unless something's changed.

astoria doesn't produce better recordings than numerous other studio's - i certainly can't bare the style of floyds' output.

i certainly wouldn't want charles bradley last daptone l.p. sounding like a diane krall recording....

the mix is inherently part of the artistic intent and modern equipped studios have some distinct advantages over old studios.....this old is best is a straw man.

just because vintage capitol may sound glorious a lot of that was the sheer amount of supreme musicianship and beautiful sounding rooms available along with a foo free pro sector who generally got the best engineered gear to do the job.

there are hundreds of fantastic sounding modern recordings but there is not the money in the industry to pay for the best rooms anymore let alone taking 2 months to mixdown like many big classic 70's albums got when the average album will be lucky if it gets one week's work at that stage.....it's apples and oranges.

 
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Maybe so, however can I cite the case of David Gilmour's studio, where they've apparently re-cabled the whole place with Kimber products (mains and signal) from Russ Andrew/Kimber...... are they un-professional?

the music doesn't go through those cables though, they are only in the playback monitoring chain.....i was told that the kimber cables are not there anymore to, but who knows?....someone could drop andy an email if they want to....
 
Darryl,

My point was Astoria chose something not traditionally considered in the Pro sector which was a support system that affected the sound quality of their recordings in a way they thought beneficial (and it really doesn't matter if you or I dislike the effect.) That implies a degree of care (and path chosen) not typical with this industry. Hat's off to them for pushing the envelope.

EDIT: regarding old recordings vs new, I think a big difference might simply be due to the lack of sophisticated signal processing equipment that's in use today. Less is often more in other words.

regards,

dave

not much of a floyd fan either
 
it's on a boat so not sure how it help with all the gear being grounded by spikes ....saying that it is a bloody great big boat so it's not short of mass....who knows what is the benefit of mana there....recent photos of the studio show the atc's on different supports too i believe....i heard they went over to using russ andrews torlyte stands but i can't see those in recent photo's either....couldn't just be product placement press opportunities for all those involved could it?
 
I'm sure a boat vibrates just like any other surface and IMO of course, Mana has its own unique resonances which Astoria liked so...

John Watson was a huge Floyd fan and turned the band onto Mana with a dem IIRC. I can't see why any large group or its management would tear their studio apart for some promotional exchange with a hifi partnership like MA or Russ Andrews which noone has ever heard of or would ultimately care about. Astoria and the band probably just liked what the products did for their sound.
 
Clearly the whole fuse thing is shit. No fuses in Europe, yet I don't hear people clamoring to set up tests to prove that HiFi sounds better in the UK than in fuseless Europe or vice versa.

You're just being taken for a ride.
 
well they don't like mana anymore as they are not supposed to have it there according to many people.

http://www.russandrews.com/article-When-Russ-met-the-Music-Masters-astoriainterview.htm

maybe they should get a fraim or two if they really care about sound.....

thats from 2002 post mana being there....it looks a lot different in pics from last year too.

who knows and who cares apart from audiophiles who like floyd and get to 'feel' at one with the band by owning some atc's wired up with kimber and sitting on torlyte with oak cones.....yawn.
 
LOL...I won't comment on the Fraim as I'm a bit prejudiced (and honestly have no clue as to whether it would do something good, bad or indifferent for their sound)

RA may be current at Astoria. I'm horrible with dates so won't even guess at the Mana/Astoria Years.
 
I'll take that in the spirit I'm hoping you intended as I prefer this sort of exchange vs our usual;-)

back after a bit, the wife just came in with lunch
 


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