> This is turning into a fabulous OT thread... - (audio)Phil
Every few months we cycle back around to it. We've got about a
dozen major OT subjects on a rotating schedule.
> Hope there is decent digital recording gear now at those
> resolutions and above... I was hoping to identify something I
> could eventually use to record French texts with local native
> French speakers for student/teacher use, (just hyped: the
> Tascam DVRA1000). I might sign up for basic audio classes at
> the local community college first, if that kind of training is
> worth a damn.
For what it's worth, I recommend the Roland gear. The
user-interface is more "OM-Like" than the other brands.
Personally, I'm not a fan of Tascam, but a big fan of Yamaha.
But, Yammy gear is very tough to navigate and use. Not at all
user-friendly and exceedingly frustrating. Whatever you get,
make sure that the hard-drive recording is LINEAR!!!! For your
application, 48kHz sampling at 24bit depth is going to far
exceed your requirements. 96kHz sampling is overkill. The
bit-depth is where your main gain will be.
> So the broadcasting world is foisting artifacts on us from
> incorrect algorithms embedded in their chips? It reminds me of
> those Xmas and New Year concerts from Europe -- I find the
> sound out of the cable box unlistenable here in Austin. And a
> lot of what goes through the car speakers when playing a CD
> seems to hurt my ears.
I cannot stand listening to (or even watching) satellite dish
tv, like DiSH and DirecTV. The compression artifacts in the
video stream are bad enough, but the audio stream is so highly
compressed that all you hear is "swirling" noise. I know what
to listen for (being involved in pro-audio product development),
and I just fixate on it--like that squeek or rattle in your car.
> I hope our Austin guys at KLRU (TV) and KUT and KMFA (NPR
> radio and classical) are at least halfway there...
The problem is that the guys that set up most of these high-end
NPR affiliated studios are now retired. The shift over the past
few years to contract-engineers has changed things greatly. The
NPR stations in major markets usually have a decent staff of
golden-ears left, though. As far as NPR itself, there are a few
very good engineers left and the facilities are quite decent.
Oh, they've got microphones that you've only seen pictures of in
textbooks.
> Is that why I feel uneasy when I read a hifi gear review based
> on three pop/rock recordings?
Actually, this is ok. It used to be that one of the reference
albums was MJ's Thriller. The album mastering was as good as it
got. Boston is another which I use quite extensively for
testing, balancing and setting compressors. Anything mastered by
Glenn Renolds is going to be excellent.
> Hey, we'd say yes to studio gear if it will do justice to
> great recordings at an affordable price! What do you think of
> the likes of Lipinsky Sound (monitors, subs, amps) or Grace
> Design (headphone amp + DAC) on the 'ritzy' side? They get
> talked up both in the audio pro and the audiophile press.
I have never seen them used in any pro facility I've been in.
Can't comment.
> I've been looking at them because of their microphones.
> Phonetics mavens rely on full-range, very flat mics for their
> work and I want to mimic that approach for spoken voice work.
> I love what Earthworks say about their 'high definition' mics
> and I'm just discovering their speakers based on your advice.
The Earthworks mikes truely are a breed unto themselves. What is
so incredible about them is the off-axis sound accuracy. You can
move a subject from 90 degrees to the side, all the way past the
front to the other side and not hear ANY shift in audio quality.
They are as flat in response on-axis to off-axis as I've ever
encountered. The omnis have better response at 180 degrees than
most high-end mikes to on-axis. Handling noise is non-existant.
The clarity and purity of sound from the Earthworks mikes, along
with zero time-smearing makes them essentially transparent.
Full disclosure: I've been an Earthworks dealer off-and-on for
over 10 years now and was involved in the product development of
their vocal mikes while working for a VAR. I can make specific
recommendations about models of mikes for your application
off-list.
> So you would tend to agree with the curmudgeons who just don't
> trust the 'audiophile' world?
Well, let's put things in perspective. My home stereo system
uses Bose speakers. They may not be the sharpest knife in the
drawer, but they sound good everywhere in the room and are
comfortable to listen to. The "audiophile" world has absolutely
nothing good to say about these things. But then I go into the
house of some audiophile with multi-thousand-dollar speakers
which are placed around like furniture in corners, behind
couches, etc., and the acoustics of the room are gut-wrench. The
placement of my Bose system and the EQ'ing is very specific.
> To much money for the actual
> engineering out there? I certainly feel the coincidence of big
> bucks and major confusion in that market to be, well,
> jarring...
It's a real hoot visiting the home of real audio/acoustical
engineers. In more cases than not, you'll see some embarrasing
equipment. (like my Bose). Usually, you'll find recording studio
cast-off equipment. Crown amps, JBL monitors, etc. But one
thing you'll almost always find is some seriously hot-rodded
preamps and eq's.
AG
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