Forum Replies Created
In reply to: Debunking the Digital Audio Myth: The Truth About the ‘Stair-Step’ EffectJune 6, 2023 at 12:25 pm #5851
In reply to: Appropriate Diffuser Type vs. LocationJune 6, 2023 at 12:24 pm #5850
In reply to: Appropriate Diffuser Type vs. LocationJune 6, 2023 at 11:08 am #5849
In reply to: Appropriate Diffuser Type vs. LocationJune 6, 2023 at 10:52 am #5847
Good to know, Norm. What about a series of diffusers along the back wall of a control room? Is there any advantage or disadvantage of using number theory diffusers in the line of incidence and switching to, say, polys at the sides?
In reply to: Debunking the Digital Audio Myth: The Truth About the ‘Stair-Step’ EffectJune 5, 2023 at 4:38 am #5839
For me, debunking the stairstep myth is an old story, so the guy is preaching to the choir. Hopefully, anyone trained in basic digital audio principles has already learned that after the low pass filter, there is no stairstep, period. You can recover a sine way just below the Nyquist frequency, say, 20 kHz, just as easily as you can recover a 1 kHz sine wave. End of story.
In reply to: Forum posts stopped?May 25, 2023 at 7:24 am #5812
I went on vacation to Italy and then Finland for over 20 days and did not visit the forum once. Until I went away I would singlehandely always give a bit of promotion for the forum on my Facebook page, and it brought lot of visitors. The Board is going to get together shortly and discuss means of promotion for this excellent resource. In the meantime I suggest everyone who believes in the power of deep dialogue here at digido fora to put in a good word for it on your Facebook page! Thanks!
In reply to: Controllers: Streamdeck, Soundflow, Avid, what else?May 17, 2023 at 2:01 pm #5808
Thanks, Phil, for your suggestion. The thing about “non-Eucontrol” controllers is they can’t keep up with the speed and additional features. Avid basically owns the controller universe. As far as posting pictures, I can add an image from my iphone or desktop by clicking on the image icon in the toolbar that appears above every posting.
In reply to: Pro Tools speed with and without Rosetta.April 25, 2023 at 3:31 pm #5795
I don’t think you can get around Rosetta other than to use Silicon-engineered plugins. Perhaps you are referring to DDMF plugins, ddmf.eu, which make a “meta plugin” but to my knowledge it does not get around Rosetta and won’t load Intel-based AAF plugins.
In reply to: This is impossible!April 19, 2023 at 10:51 am #5789
Hi, RBJ. Your idea of using multiple ADCs, each one scaled differently, of course has merit. It could allow perhaps 30 dB of additional headroom over 10 volts, if that were ever needed. But would a cheap company like Zoom implement multiple ADC chips instead of bamboozling their customers into thinking they have infinite headroom? I doubt it. Bamboozlement in progress.
In reply to: This is impossible!April 18, 2023 at 9:27 am #5784
Dear Ferenc: Bruno Putseyz’s explanation in this thread says it all. EVERY ADC has an overload point, no matter how you slice it. EVERY ADC has to output in fixed point, because we’re talking about converting from the real (analog) world, which has defined analog voltages. You can CONVERT (or the device can convert) the output of the ADC to float, but it still had a defined overload point to begin with.
What Zoom has to be doing (there is no other way) is to move the 0 dBFS point to BELOW the overload point of the ADC. They can set it up so that a slightly higher analog voltage than is commonly used would cause the oveload. But that doesn’t make the ADC immune to overload, it just postpones the overload, at the expense of a worse signal to noise ratio. But as Bruno points out, the SNR of a good preamp and ADC is quite good, so it’s not a terrible thing to sacrifice a little SNR. But Zoom is misleading the customer and the article is entirely misleading. You don’t even need floating point to perform this “miracle”, actually. Just attenuate the input to the ADC inside the recording device.
In reply to: What distinguishes a “Mastering” loudspeaker from a “Mixing” oneApril 13, 2023 at 10:56 am #5770
Another way I’ve made a “reference” at times without needing a dedicated reference speaker is to stand just outside the studio door and listened to the master (or mix). Also, playing things softly can be very revealing: What sort of details do you miss? What details remain salient?
I will turn down a questionable soft passage in the monitor, to see if the vocal still comes through and you can understand the lyrics.
In reply to: How was mastering typically done in the 90s?April 13, 2023 at 10:53 am #5769
I agree. By the mid 90’s, dedicated hardware mastering systems fell to disuse. I don’t know anyone who has been using a Roland hardware workstation or an Alesis Masterlink or a DAT machine anymore. And especially PCM-1630. Exabyte DDP tape. Those are all gone, the all-purpose computer has taken over.
In reply to: Seeking Advice and Opinions on Mastering EQsApril 13, 2023 at 10:51 am #5768
I had a Millennia NSEQ-2. It’s a terrific equalizer with either a transparent solid state or nice tube tone, but for me the fine resolution of the boost and cut knobs was not fine enough for my mastering needs. But it definitely would make an excellent equalizer for mixing.
In reply to: Fun With Stereo Pairs!April 10, 2023 at 6:16 pm #5757
Faulkner’s setup reminds me of the late David Hancock’s approach to spacing a pair of figure 8 ribbons. I haven’t tried it, but the idea seems dangerous as coincident figure 8’s already have tremendous separation. But David told me that he called coincident pairs “monereo”. And since I have frequently supplemented Blumlein with spaced omnis I’m no purist either 🙂
In reply to: Fun With Stereo Pairs!April 10, 2023 at 6:11 pm #5756
Hi, Phil. There was another advantage to the way that you overdubbed your voice. Not specifically because of the MS, but important. You used the identical gain for each overdub. As a result, the same perspective of the stereo miking integrates them all.
Reminds me of when I recorded Stravinsky’s L’Histoire Du Soldat in two parts and mixed them later in post. Part one was the instruments and part two the narration and the acting. I insisted to the producer that we keep the same Blumlein pair mike up (An AKG C24) for the narration, at the identical gain used for the instruments. I positioned the actors in front of the mike at positions that sounded good — in the same hall. As a result, everything just flowed together in post. What happens if you decide to record the narration/acting at a different time, is you get a discontinuity, the ambience and the perspective changes. But instead, we got a continuous presentation that makes it sound precisely like the actors are there on stage with the musicians.