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  1. If you want you can try our "My Reel Club" files for comparison here: https://we.tl/t-NUZsotqFSm This is one track from one of our latest live (with audience) studio recordings in the original DSD256 format (with no mastering, post-production or dynamics processing at all, only some very simple mixing in analog using an expensive SSL console). The original recording was converted to DSD128, DSD64 then Flac 192k, 96 / 24 bit and 44.1k / 16 bit. The conversion was done by Jussi at Sygnalist with his HQPlayer Pro software and algorithms. You can see the details of the dynamics of the complete live event (not the file I shared, but the complete event, measured with an iOS app and an extra mic roughly 3-4 m far from the musicians), in one of the corners. We did a tape recording as well, and copied a master tape from the original, the same track was digitized in 96k/24 bit too from this tape copy. The tape output was mixed a bit differently and on a Neve console, so it is not for comparing it to the digital recordings, only for fun.
  2. No, I did not have time, and in the meantime I built a Roon Bridge / Hqplayer NAA audio PC endpoint with linear power supply and Pink Faun USB card, so not really interested anymore experimenting with my Macbook.
  3. Yes, there is a good chance. The same chip is used by Sonnettech in their latest gen USB C cards, so it should work, it is Thunderbolt compatible after 10.12.6 OS. SO if you have a MacBook Pro now with this card and with a Sonnettech TB3 expansion chassis, you can use them and both the MacBook Pro and the TB3 chassis could be powered from an external linear supply. The mentioned Apple compatibility is wrong on their website (Mac OS (10.16 or later)) as there is not Mac OS X 10.16 yet, it may be a year away
  4. Actually to enhance our senses and to educate our brains, regarding recordings and mics and music production technology, I organized the so called My Reel Club events, where you can go to the studio and sit just meters away from the musicians, instruments while the recording is made live and without any post-production, processing, practically only a mixing session on the recorded tracks, if we use more than two mics. It is very different experience than being on a concert and sitting far from the stage. The studios rather small, there is usually no way to squeeze more than 20-30 people so it is comparable to the situation when the musicians would visit you at home and play just for you. After the recording, mixing completed, you get the files (in DSD256) and can listen at home. Usually we measure the loudness and dynamics as well of the event so you can set your volume up to the same level if you want. This way you can understand not only what a direct instrument sound means in the studio, but the whole production chain as well, how many different ways a post processed commercial recording is changing the original instrument sound, dynamics, tonality, etc. Let me share a sample, it is 3:39 min long ( 800 MB size) from the Gabor Varga Quartet, cool jazz music recorded in December. There is no editing or any kind of digital processing in this track, it is only mixed using a large SSL analog console. The peak of this track was 92-93 dB, roughly 4m from the drums in the middle of the audience. https://we.tl/t-V2UIAnM6L0
  5. We have made a short (3:39 min) DSD256 sample of our cool jazz recording from the Gabor Varga Quartet available. You can download it from the link below in the next very few days. https://we.tl/t-V2UIAnM6L0 There was no editing, no processing, only live mixing of very few microphones, including one stereo ribbon, in an analog mixing chain.
  6. Quite a few: different PMC, Quested, Neumann, Presonus models. Plus in my home studio I am using a quality checking nearfield (passive) system: my own audio PC with Pink Faun USB Card and Audiolinux OS, Holo Spring 2 KTE DAC (sometimes a Merging Hapi A/D-D/A converter), Parasound P6 preamp, Audionet Amp I power amp, Marten Duke 2 speaker, Wireworld Gold Eclipse 8 speaker cable, the rest is Wireworld all Platinum cables, including USB.
  7. I thought this too. Until I got a preamp for my active speakers. Since then I always use a preamp. It is a must.
  8. I am using my 15 inch 6 core i7 MacBook Pro with and Elgato Thunderbolt 3 dock which has a standard DC connector. I power the TB3 dock from a locally made 20V, 10A linear power supply. This way I can power any device connected to the dock, linearly, not only the MacBook Pro through its TB3 connector. Works very well.
  9. I use Wireworld Micro-Platinum pro microphone cables in my hifi and home studio and for our My Reel Club live studio recordings too.
  10. I am dealing with Canon cinema cameras and lenses in my real life and television, film productions as a system integrator and technical advisor so that I could do it much better, but it was not the purpose of this simple iPhone recording. We shot a "werk film" so there will be a much better audio/ video quality version sometime in January. All the registered attendees just got a DSD128, and DSD256 sample track from both the analogue mixed Nagra recording (digitized with the same A/D converter) and the ribbon mic stereo track.
  11. Many thanks for explaining your experience. We have done dozens if not hundreds of recordings this way in the past 15 years or so and we will in the future as well. Occasionally we will use other methods too. Like in this case, but let me remind you: we used a ribbon stereo in this case as a main mic and in most of the tracks it will be used only and these two tracks will be published as well. There will be tracks when we will add a bit from the rest of the feeds as well.
  12. I can send you one track sample. If you need the whole recording you need to buy it unfortunately (from us - send a PM please), but yes I can send it in 96k, if you mean the Goldberg variations on nativedsd.com. It will take few weeks to complete the new Varga Gabor Quartet cool jazz recording. I may share one track (with the stereo ribbon mic and in native DSD256, and the one mixed live and recorded on the Nagra and digitized from it in DSD256 as well), if there is a need, if any of you interested.
  13. It is an exciting conversation. There are limitations of using only stereo microphones. A large, fully blown classical orchestra for example or a big band, it is challenging to make a tonally balanced recording of these events with just a stereo pair. Most of the stereo mic pairs and technologies have a kind of distance or range limitations. One of the very few stereo pair which can handle such kind of situation is the Royer SF ribbon series, I used them and sold them a lot. Not always the seemingly most straightforward solution gives the most balanced recording, unfortunately.
  14. Actually, the paying attendees (the fee is roughly 70 Euro) get all the files, including lower sampled PCM files of course. If you are interested, you can buy a CD, or you can buy the PCM files too (from us). Sampling rate conversion was done by Hqplayer Pro and Sygnalist. He has made (remodulated) a DSD512 and a DSD1024 version as well from the DSD256 master. The attendees got these as well. You are right; there was no reverb and eq used. When we use any kind of analogue or digital processing, we will list and mention what we did. I definitely want to inform all the listeners what was done with the technique and the recording. Then it will be much easier to use these recordings as a kind of reference. This is why the producer and the engineers explaining what they use, how and why. I am sure to know more about the recording will help everybody to listen and use these recording properly even for decision making, to make a bit better-informed guess. The beauty of DSD256 is not only the quality but the fact that there is no way to process and modify the files natively. So DSD is one of the best ways for digital purity.
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