Posted on 07/21/2021 12:40:29 AM PDT by nickcarraway
Lol
You should only make those claims over a fine glass of wine though.
Bought myself a nice pair of Wharfedale’s for Christmas. Hooked them up to my Carver amp, and I’ve been in a state of audio bliss since then.
The Apple announcement intrigues me, but given the associated hardware issues, I think I’m going to wait until it’s ready for prime time (i.e. has an RCA jack plug-in solution) before I jump on the bandwagon.
Acoustic issues are usually pretty easy to remedy. If you're interested, start by building some 8" thick Rockwool bass traps and put them in the corners. Make the frames out of 1x10 rough lumber. Should be around 8' high for a garage but work best if they go to the ceiling. The difference will blow you away.
If you ever want to do a decent acoustic treatment so you can really enjoy your gear. pm me and I'll walk you through it. And yeah, you can do a good job for little money.
I'm with you. Today nearly all pop/rock music gets obliterated by overcompression, ridiculous limiting and massive amounts of deliberate clipping and saturation. Dynamics are non-existent. The results are often unlistenable. I just don't understand how anyone can tolerate a mix that's crackly, distorted and ear-ripping, not because the music's exciting but because the mix is just slammed to the wall. It is horrible. I've been sent mixes to be mastered by clients where there was absolutely no headroom left to do anything resembling "mastering" - there was nothing left to work with. Sent them back saying either send me a dynamic, uncompressed, unlimited mix or I'll have to pass on it. Sometimes they do, sometimes they don't.
There's a ton of great, usually older, recordings to choose from. I rarely use a reference track when I mix but occasionally I will. If so, I'll choose a well recorded, well mixed track from a band within the client's genre. Or I'll ask the client what band's production they're aiming for. There's so much to choose from.
Fantastic. My old man had one he bought in the early ‘70s. Sweet sounding amp.
Yeah, there are big differences between the two but I don't think one's better than the other. With analogue you deal with hiss, high end detail loss and, when a tape recording's mastered, the low end has to be attentuated to comply with the limits of how a record player's needle tracks the grooves. Also, changes must sometimes be made to bring the stereo image inherent in the original tape in towards the center for the same reason. Then, of course, with records you deal with clicks and pops.
Records have a great vibe to them because of these imperfections and also because the recording/mastering process often introduces subtle, pleasant harmonics to the whole bit. but high resolution digital recordings, if technically recorded and mastered correctly win hands down for clarity and dynamic range. Depends on the the material, genre and other things for me.
I am not a pro like you, but often mix & master live multitrack performances. The end result isn’t quite as loud when A/B’d with “pro” tracks, but I get a lot of complements on the track. Dynamics are good!
I built mine from a kit.
Been sitting.
Probably needs caps replaced.
It’s still in my mind, but down on the priority list.
I stacked them with the tweeters together. (Top pair upside down putting the tweeters close together) Seemed to tighten up the imaging. I would have to convince the wife there was some other reason other than acoustics to do a treatment. Mouse repelling treatments?... LOL.
I have many songs from youtube downloaded and some are excellent audio and others were way to compressed. Go to apple itune site and listen to the sound from the movie trailers. Clear sound and not muddled.
Or you can just buy acoustic panels that are now inexpensive. If you know what standing waves you want cancelled and/or know what amount of silence in the audio spectrum, you can order to suit your needs.
Huh? For CD's, the master studio tapes are converted to 1's and 0's for the master CD which is than copied for mass distribution. May be the early CD's had a different mastering process. I doubt it. Unless the band, producer, engineers want the master process to intentionally include compression, limiting, and extra dynamics as in volumn, there is no way that a lossless CD has any gaps. The conversion process from analog master tapes to digital are flawless and lossless, unless the above is desired.
If they send you a dynamic, uncompressed, unlimited mix, what is there to remaster? Do they mean re-mix?
I like getting a mix with around 6db headroom and an RMS level between 10-12db. That gives me plenty of room to work with to achieve a good master. Mastering is just the final polish on a mix and the stage at which you adjust overall levels to whatever online platforms, CDs, TV - or whatever medium something will be played on, require. In that stage you also do minor EQ adjustments if required as well as perhaps mid/side adjustment, stereo widening/narrowing to focus certain elements in the mix and final compression and limiting.
Yes they are! If someone prefers their music loud there’s a way to hear it that way without destroying the track. Just turn up the volume. Lol!
Before treating my studio I looked at all the options. Building my own traps was a lot cheaper than buying them. Also, you'll see foam traps being hawked all over the place and yes, they are cheap. But they do not work to attentuate anything under 200Hz, where most of the problems are. Panels that are dense do the job, foam does not. High density Rockwool is the best. The biggest problem in any room, especially square or rectangular ones, is in bass frequencies. Tackle those and you're on your way to a good sounding room. Then, using the "mirror technique," you finish up by throwing up some foam panels on the walls. Rugs or ceiling treatment also helps tighten things up. There's a great, free program; Room EQ Wizard, that's of great help dialing things in.
I have a 20' x 15' home theater. My only treatments are a thick almost shag dark rug; a piece of that rug on the back wall to minimize slap back, and dark grey walls and ceiling to minimize light reflections. I should put something on the ceiling and certain walls since I can hear sound reflection depending on volumn, but prefer not for aesthetic reasons. I can't have the wall corners attenuated due to my dual array speakers. It would defeat their purpose of providing a deep sound stage.
FYI, I got tired of front directional speakers years ago. Looking for that elusive stage depth I tried Bose (not impressed), went to Ohm's (too short), Mirage towers , and finally Def Tech because of their powered sub-woofers and a more neutral tone. I now use the Mirage towers for the rear surround and although I could initially hear the tonal difference between them and the Def Techs, I don't notice it anymore. Anyone who has heard my setup are stunned by the realism. Don't need no stinking 7.1 or more.
The tubes are easily found on eBay for the most part, and I’m seeing more retail availability if you know where to look.
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