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About gmgraves

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  1. Huh! I’ve heard of this “practice“, but except for some early ‘40’s 16-inch broadcast transcriptions transferred to vinyl, I’ve never come across it on more modern recordings.
  2. I’ve often thought that car audio systems need to employ a variable compressor feature. That way, low level detail doesn’t get lost in the road/engine noise that is inherent in all* automobiles. * An uncle of mine had a Bentley when I was a teen. He used to complain that as quiet as the Bentley was supposed to be, he still couldn’t hear the soft passages in the classical music he perennially listened to on his Becker Mexico FM radio!
  3. It’s not the technology, it’s the methodology. Modern recording technology is just as capable of making poor recordings as technology from the dawn of stereo recording in the mid 1950’s. Most classical recordings have been made with widely spaced omnidirectional mikes. These include MLPs, Telarcs, and RCA Red Seals. You might go to Ray Kimber’s website for his IsoMike recordings (isomike.com). He uses omnidirectional mikes in a unique way that allows him to make true stereo recordings by placing a proprietary baffle between two closely spaced omnis. You might also try Bert Whyte’s recordings that he made for Belock Instruments Corporation on the Everest label in the late 1950’s. Almost all of those are available on Tidal as MQA streams. Copland’s Third Symphony and his Billy the Kid ballet Conducted by the composer are excellent recordings on Everest, and again available on Tidal. Search under London Symphony Orchestra. Herbert Von Karajan’s original Beethoven Symphony cycle from the early 1960’s on Deutsch Grammphon were recorded using the MS stereo miking technique. They are very good real stereo recordings. This kind of recording is hard to find nowadays as most recording companies believe in multi-miking due to the exorbitant cost of recording a full symphony orchestra. This is one reason why I started recording my own stuff many years ago. I can mike ensembles to suit me, and I always use a stereo pair. If you’d like to read my primer on recording, please feel free to go to my recording blog: http://audioandrecordingworld.blogspot.com The articles are in chronological order, so, the last article is first. Go to the extreme bottom of the page to read in the correct order.
  4. Well, knowing Frank, someone agreeing with his brand of amiable nonsense, would definitely bring that possibility instantly to mind! It’s much more likely than not. However, I must point out that SHTF’s post was uploaded a little over 2 hours ago. In Oz where Frank resides, I suspect it’s the wee hours of the morning there, and while it’s possible, I doubt he would get up out of bed just to send that.
  5. Welcome to a minority of one who thinks that Frank is right. Again, I don’t pretend to know anything about pop and rock as I don’t listen to it, and I’ve never accepted a gig to record it, but in the classical and jazz world, there are many more bad recordings than there are good ones. It’s mostly about economics, I believe. It takes talent, a deep understanding of microphones, and the willingness to spend the time necessary to set up to correctly to record a musical performance. One has to instinctively know what microphones are right for what instruments and be able to “read the room” in order to set the microphones up correctly. That takes time. Most record companies don’t want to spend the money to take that time. They would rather get the talent in the door, get the performance captured without regard for the room or the sound (usually using many microphones) and then get the talent out the door! Then the engineers and producers can fiddle with, and vacillate over balances at their leisure, till the cows come home! And unfortunately, the recordings sound like it too. Are you sure that you aren’t a sock puppet? 😇
  6. Yeah, I think that I do every one of them to the best of one’s ability to do those things. I’m not going to second guess the engineers that design this equipment and modify it, but as I have said before, all that this kind of tweaking does is very subtle. Often it results in no audible improvement at all. But it does give peace of mind that one has done his due diligence with regard to dressing cables, ensuring clean mains, cleaning connections and applying Stabilant 22 to all I/Os etc.
  7. Bah! 63 words, in which you say absolutely nothing! Step by step? What steps? That doesn’t matter. There is still almost no opportunity to do much outside of the circuitry (that’s located inside the speaker box). Your inability to tell us what you do, convinces me that you MAY be making all of this up. Ok, but everybody who cares about sound does that kind of audio “housekeeping”. That’s nothing special, and it certainly won’t give the magnitude of results that you”report”.
  8. The entire catalog has been re-released on CD, some several times, and remember the source are two and three channel magnetic tapes. They have plenty of separation, “old chap”! I’ll agree that recording equipment has come a long ways since the ‘50’s. Recording techniques? Not so much, if at all.
  9. Yeah, You better do that. We certainly haven’t heard enough about your “journey”! We still don’t get what you do that’s so magical that you can turn mediocre equipment to state-of-the-art high-end audio presentation. None of the steps that you say you take can possibly do what you say they do. You must be leaving something out... What can you do? You have a mains cord going in, an RCA pair carrying the signal from your source component, and the single speaker cable connecting the speaker with both amps inside to the other “drone’” speaker. I don’t see a lot of room for dinking or anything much that you can tweak!
  10. Frank, have you been watching Peanuts cartoons again? Schroeder will be gratified.
  11. I don’t remember specifically talking about a phonograph record, nor do I recall saying that MLP recordings exhibited pinpoint imaging. They were recorded with three very primitive spaced omnidirectional Telefunken microphones onto 1/2-inch three track Ampex 350. They can’t have pinpoint imaging, and neither could you if your ears were five meters apart! But to answer your question, phono playback does have enough separation to give pinpoint imaging on a well recorded production.
  12. I do. But pinpoint imaging is just one characteristic of a good recording. MLP recordings generally have great impact, and a wide soundstage. They just don’t have the pinpoint imaging that a true stereo recording has. That’s sort of OK. They are so “un-gimmiked“ and natural sounding (if a little forward in the upper midrange), that I forgive the lack of pinpoint imaging. After all, one shouldn’t throw the baby out with the bath water!🙂 No. That at least, was not Telarc’s problem. They may have aped Bob Fine’s microphone technique, but they didn’t use those late ‘Forties Telefunken condenser microphones. They tended to use mikes such as B&K calibration mikes which have a dead flat frequency response and very low noise. At some point, they started using a very expensive Japanese calibration mike (I don’t recall the brand/model, but I would know it is I saw it). These mikes are flat to about 50 KHZ! Again, Telarcs are mostly decent recordings, even if they don’t give the listener laser beam imaging. They are at least flat In frequency response. But, I bought one recently that I thought let the label down big-time. It’s called Master and Commander and is a bunch of themes from sea-going films. I think it sounds terrible! I was very disappointed with it’s dull, lifeless sound and I don’t know to what to attribute such an aberration.
  13. I have noticed that as well. My suspicion is that it’s the characteristic of those primitive Telefunken omnidirectional mikes that Bob Fine favored.
  14. And of course, you are the the arbiter of what constitutes “Poor replay of audio” and your cheap equipment and speakers are the only system that meets your stringent standards, eh?
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