On 2006-09-19, Wally wrote:
Keith G wrote:

(As soon as you touch the volume control you are changing the sound
to suit yourself!!)

That's a good point...

Hey, Accuracy Boyz - do you have only one volume setting?

I think it was Peter Walker who pointed this out: that for each recording
there is just one "right" volume setting where the audio level and the
spatial perspective match to create a realistic image.

My own experience is that Peter was correct.

Of course the level is different for each recording so you *do* need a
volume control ...

--
John Phillips

In article ,
Iain Churches wrote:
Most studios will be happy to supply any monitoring amps and speakers a
client requires. It's just that *most* clients wouldn't dream of asking
for antiques...


But when they do, Dave, it is nice to be able to meet their requests.

Err? Did I say they wouldn't? They are in the business of making money.

I often get calls from people asking where they can rent an analogue
multitrack which a client has specifically asked for.

What a strange way you have of putting things, Iain. Almost like you are
some kind of consultant. Who just happens to hire out all sorts of
obsolete audio equipment.

A studio which I frequent often has one of the best sounding Gretsch
drum kits I have ever heard. They are quite happy to change it for a
lesser Premier kit, if the client asks for it.

You find it unusual that no one brand of instrument is universally
accepted as best for all tasks? I thought you knew about such things.

--
*Who are these kids and why are they calling me Mom?

Dave Plowman London SW
To e-mail, change noise into sound.

I'll try to communicate with him. I think I have deciphered Phil
Allisonese


Phil Allison wrote:
"Iain Churches = CRIMINAL Pommy ****head"

Phil Allison = HOMELESS freebasing ********pop




Hold on a moment, Graham. I know some five or six which
offer valve amp monitoring as an option.


** Post the names and contact details - arsehole.

Show us your passport dickwad.



Too damn easy to just make up BULL**** like that.

Anything can be said CRAPHEAD by anything one.




Our own mobile set
up includes a Radford STA100 which clients often choose.


** So NOT a studio set up and DEFINITELY an UNKNOWN.

Alaaaas no STUDIO is set up one way KNOWN FOR SURE *****




Who are these alleged "clients" you have ??


Where is this alleged "life" you have????!!??




Such delusional cretins need to be publicly outed.



Use of vague, exaggerated or untestable claims..

Like the one you made above? :-)))

No like the one you made above ;-)))))


** Like the whole * BUNCH* of " vague, exaggerated or untestable claims"
just made here by the verminous Iain Churches ARSEHOLE !!


No like the MANY** overly stated ambiguous or unreasonable claims""
made by wit tard hermotoad Phil Allison ****WIT TARDHOLE !!!!!!!

Wot a ASD ****ed FOOL !!


Wot a DFK shat STUPID man donkeyboy cow !!!!!!




Phil. Don't expect a reply until you can post in a rational
and polite manner.



* So it was all just ANOTHER pack of

YOUR ASININE ****ING LIES


Just like you ANOTHER pack of LIES **** **** FART WAD DILHOLE
dingleball cranberry sauce lier man juice ward hater piehole ASSBITE
twit pussy fart head dickturd OFF WART nosehair **** face.




- as per bloody usual !!!


No one on planet earth needs to see ANY posts from a

LYING CRIMINAL **** like Iain Churches - EVER.


Nice shooting the breeze with you Phil ****WAD HATE **** HEAD LIAR LIAR
pants on fire FOREVER TESTICLES skunk berry duch BAG FART head flurry
gap whole hole gogo dancing part time dwanger **** **** **** **** ****
eater bitch SLAPPED dingle ball **** ****er house pill jack of diamonds
TRACTOR fly head wad bag hole EVER EVER.


Scott

P.S. IGBIuhiBIUBIu **** **** ****WAD JJGByybkyYGkuy YBKU **** HATE
jujbbuy HATE HATE HATE jgbkuy **** **** **** ybuy.

I think it was Peter Walker who pointed this out: that for each
recording
there is just one "right" volume setting where the audio level and the
spatial perspective match to create a realistic image.

this is an interesting subject. One could argue that the "right" volume
level is the exact level at which the instruments were recorded. But
most of the time the playback situation - listening room - is smaller
than the recording venue, so that's not realistic anyway. Maybe a
string quartet could sound realistic at natural volume, but an
orchestra certainly wouldn't. So the whole thing is pretty debatable.

Could you explain how the "spatial perspective" works? Is this really
an illusion of reality or is there anything tangible in it? Nothing
wrong with an illusion of reality - this is something we're all after,
but knowing Peter Walker's technical stance I wondered if he had
something tangible in mind.

"Andy Evans" wrote in message
oups.com...
I think it was Peter Walker who pointed this out: that for each
recording
there is just one "right" volume setting where the audio level and the
spatial perspective match to create a realistic image.

this is an interesting subject. One could argue that the "right" volume
level is the exact level at which the instruments were recorded. But
most of the time the playback situation - listening room - is smaller
than the recording venue, so that's not realistic anyway. Maybe a
string quartet could sound realistic at natural volume, but an
orchestra certainly wouldn't. So the whole thing is pretty debatable.

Could you explain how the "spatial perspective" works? Is this really
an illusion of reality or is there anything tangible in it? Nothing
wrong with an illusion of reality - this is something we're all after,
but knowing Peter Walker's technical stance I wondered if he had
something tangible in mind.



I also found this interesting and I even have the odd LP with 'empty dials'
printed on the sleeve for Volume, Bass, Treble so you can mark your
preferred settings on them. But this would only work if the listening
environment was static (room, seating position in relation to the speakers)
and of course different room sizes/amplifier power/speaker
sensitivity/cartridge output voltage &c.will all require that the derived
'standard' volume setting be changed to achieve the 'correct' sound level of
the music.

Then everybody's ears are that little bit different and so it goes on....

Iain Churches wrote:

"Eeyore" wrote
Iain Churches wrote:
"Eeyore" wrote

It's almost unkown to come
across a valve amp in a studio monitor setup.

Hold on a moment, Graham. I know some five or six which
offer valve amp monitoring as an option. Our own mobile set
up includes a Radford STA100 which clients often choose.

Use of vague, exaggerated or untestable claims..

Like the one you made above? :-)))

I've yet to meet one in any studio that I've come across.

Get out a bit more, Graham:-)

I have been doing in fact recently.


AIR don't have any afaik for example. And if *they* don't think it's
important........

If you expressed an interest in a valve amp when you booked
your session, it would be waiting for you when you arrived.
At their prices they never deny a client any reasonable request.

I'm sure you have a point wrt 'alternate monitors' but quite simply no valve amp
is suitable for the big speakers. I can certainly ask.


But once again, Graham, you are thinking too narrow. The
last time I visited AIR Lyndhurst they had a Steinway Model B.
This does not mean that a Bechstein or a Bosendorfer is not
good.

Bringing in different instruments is a rather different matter.

Graham

Iain Churches wrote:

"Eeyore" wrote

Since an SET is essentially incapable by design of any modicum of sonic
accuracy I wouldn't be inclined to try for that very reason.

Graham

I think you should, Graham. It would make an interesting thread.
But could we trust you to give it your best shot? :-)

I'm actually rather intruiged by the whole matter. I hope to be getting a chance
to audition some oddball stuff in the near future.

Graham

"Dave Plowman (News)" wrote:

Iain Churches wrote:

I often get calls from people asking where they can rent an analogue
multitrack which a client has specifically asked for.

What a strange way you have of putting things, Iain. Almost like you are
some kind of consultant. Who just happens to hire out all sorts of
obsolete audio equipment.

I believe that's fairly close to the truth in fact.

Graham

Andy Evans wrote:

I think it was Peter Walker who pointed this out: that for each
recording
there is just one "right" volume setting where the audio level and the
spatial perspective match to create a realistic image.

this is an interesting subject. One could argue that the "right" volume
level is the exact level at which the instruments were recorded. But
most of the time the playback situation - listening room - is smaller
than the recording venue, so that's not realistic anyway. Maybe a
string quartet could sound realistic at natural volume, but an
orchestra certainly wouldn't. So the whole thing is pretty debatable.

Could you explain how the "spatial perspective" works? Is this really
an illusion of reality or is there anything tangible in it? Nothing
wrong with an illusion of reality - this is something we're all after,
but knowing Peter Walker's technical stance I wondered if he had
something tangible in mind.

http://www.google.com/search?hs=DT9&...on&btnG=Search

Gerzon did a whole load odfwork on the subject from an entirely scientific
perspective. I hope that hasn't put you off now !

Graham

Keith G wrote:

"Andy Evans" wrote in message
oups.com...
I think it was Peter Walker who pointed this out: that for each
recording
there is just one "right" volume setting where the audio level and the
spatial perspective match to create a realistic image.

this is an interesting subject. One could argue that the "right" volume
level is the exact level at which the instruments were recorded. But
most of the time the playback situation - listening room - is smaller
than the recording venue, so that's not realistic anyway. Maybe a
string quartet could sound realistic at natural volume, but an
orchestra certainly wouldn't. So the whole thing is pretty debatable.

Could you explain how the "spatial perspective" works? Is this really
an illusion of reality or is there anything tangible in it? Nothing
wrong with an illusion of reality - this is something we're all after,
but knowing Peter Walker's technical stance I wondered if he had
something tangible in mind.


I also found this interesting and I even have the odd LP with 'empty dials'
printed on the sleeve for Volume, Bass, Treble so you can mark your
preferred settings on them. But this would only work if the listening
environment was static (room, seating position in relation to the speakers)
and of course different room sizes/amplifier power/speaker
sensitivity/cartridge output voltage &c.will all require that the derived
'standard' volume setting be changed to achieve the 'correct' sound level of
the music.

Then everybody's ears are that little bit different and so it goes on....

And which seating position would you attempt to recreate ?

It would be too loud for most ppl anyway.

Graham