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ferenc

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About ferenc

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  1. 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.
  2. I thought this too. Until I got a preamp for my active speakers. Since then I always use a preamp. It is a must.
  3. 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.
  4. I use Wireworld Micro-Platinum pro microphone cables in my hifi and home studio and for our My Reel Club live studio recordings too.
  5. 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.
  6. 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.
  7. 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.
  8. 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.
  9. 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.
  10. It is a studio recording, recorded live with small audience. There is no hall. As I have written, and as it is shown in the pictures as well, we were using a ribbon stereo mic beside the 6 others. It was recorded and it will published on its own. As you could realize, it is a studio with 30 people right around the instruments. So a so called hall ambience did not play. There was none. It is pure instrument sound. We wanted to record it as purely as it is possible and as authentic for those sitting around as it is possible. Using 2 mics only or a stereo pair not always the best solution to make a balanced recording.
  11. We completed our second My Reel Club (myreel.club) recording on tape and in DSD256 yesterday. The modern cool jazz music from Varga Gabor Quartet was fantastic, the performance really extraordinary. This music requires the highest possible quality recordings. It was a live studio concert with an audience in the studio. All the attendees will get the highest resolution and quality digital (DSD256) and optionally analogue tape recordings (for a fee). We plan to publish quite a few versions of the recording: - We used an analogue audio mixing console to mix the 8 microphone feeds to a stereo mix live. It was recorded on tape, using a Nagra IV-S at 38 cm/s. We will sell the tape copy and a DSD256 file from a tape too in its raw form. - We recorded the 8 mic feeds in DSD256 using a Pyramix recording software and a Luxor Audio PC with a Merging Hapi A/D converter. There will be an analogue mix, and some eq, dynamics processing in the analogue domain. It will be rerecorded as a stereo version of the mixed and analogue mastered music in DSD256 and on tape too. The latter can be the basis of an LP. - 2 channels of the 8 mic feeds were from a ribbon stereo mic. These 2 channels will be published in DSD256 after some light editing in the digital domain, but otherwise without any processing. If one needs the purest possible digital recording. The production process will take weeks. The recordings will be available from us directly (myreel.club), including the tapes and through nativedsd.com, sometime in January. We believe the recordings will be fantastic, but only a facsimile of the real live event. Sitting right there with the instruments and the musicians are way better than any recording can be in our life, I think. Every serious audiophile should have to try it once in a lifetime. There is the added value of discussing everything with the musicians, the studio crew and with each other of course. It was an unforgettable event. It is a pity that only 30 people could be squeezed in the studio. https://youtu.be/r-4ZYjK6bWw
  12. Sure. Thanks. Our next recording event is in about a week from now on. I will let you know how it went.
  13. Thanks for asking. We were thinking of releasing this recording on a tape, but there was a technical problem, so we did not do it. However, the next event (which is a cool jazz quartet live studio concert) will be recorded and probably released on tape after some editing. We will use complete Wireworld Micro-Platinum OCC silver cables for all the analogue mic feeds and just ordered unique decoupling bases from bfly-Audio, called Stoneline from the next event.
  14. It is available now: https://www.nativedsd.com/albums/MRC1901-goldbergvariationen
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