garylkoh
Member
- Thread Author
- #1
One of the things I do that may cost me my audiophile cred is that I use my cell phone for design. While "Absolute Fidelity" it is not, the fidelity on my phone is good enough for "relative fidelity". Sufficient to hear the difference between two brands of capacitors of the same value in a crossover. It may take 3 days for a new component to run-in in the crossover, so the only way I can really objectively evaluate that utility in a crossover design is to record some music playing, change the component, run the new component in for 3 days, make another recording, and listen to the two components and compare.
Obviously, I'm not going to do that in public here.... but this here illustrates what I do.
When we recorded the Paul Sawtelle Big Band at the Pacific Audio Fest, we didn't intend to publish the music. But the recording turned out to be so good that we had to share.
Here's Bethany Wilson singing Blue Skys with the band.
This first video is what you might have heard if you were sitting in the best seat in the house. The audio was recorded using a camera hot-shoe mounted X/Y stereo condenser microphone.
This second video takes the 24/96 digital recording from the Nagra VI. This would be what the mixing and recording engineers (Mr Ki Choi and Dr Phillip Chance) would have heard monitoring through their headphones. The microphone was the Neumann TLM50 - a transformerless version of the legendary M50.
And finally, the video with a digital transfer from the audio that Bernie Grundman mastered off the direct-to-2track tape recording.
Obviously, I'm not going to do that in public here.... but this here illustrates what I do.
When we recorded the Paul Sawtelle Big Band at the Pacific Audio Fest, we didn't intend to publish the music. But the recording turned out to be so good that we had to share.
Here's Bethany Wilson singing Blue Skys with the band.
This first video is what you might have heard if you were sitting in the best seat in the house. The audio was recorded using a camera hot-shoe mounted X/Y stereo condenser microphone.
This second video takes the 24/96 digital recording from the Nagra VI. This would be what the mixing and recording engineers (Mr Ki Choi and Dr Phillip Chance) would have heard monitoring through their headphones. The microphone was the Neumann TLM50 - a transformerless version of the legendary M50.
And finally, the video with a digital transfer from the audio that Bernie Grundman mastered off the direct-to-2track tape recording.
