Dirty Digital [sic.]
 

"Eeysore Steaming Great Pommy Charlatan & ****wit "

John Phillips wrote:

While such an extreme phase respose offends my engineering sensibilities
I still have not found credible references to tell me about the
audibility
of phase shifts. If anyone knows of such material I would be interested.

Try your hearing.


** That's what all the ****wit audiophools say.

Then do nothing of the sort.




....... Phil

Dirty Digital [sic.]
 

"Eeysore Criminal Pommy CHARLATAN"

Don't even get me started.


** LOL - would sure like to FINISH you once and for all

- you vile fake.


Why do you think there were Apogee filter
upgrades for PCM3324As and the like ?


** Yawn....

Snake oil remedies sold for sky high prices made lots of money for those
crooks.


BTW:

Apogee was begun and owned by an Australian ****** called Bruce Jackson.

He started a PA hire company ( Jands ) here in Sydney in the late 60s, then
sold it and went to the USA to become sound guy for Elvis Presley in the
early 1970s.

That is when I met up with him in Sydney.

Wot a smug and arrogant ******.



...... Phil

Dirty Digital [sic.]
 

"Arny Krueger" wrote in message
. ..

Based on my experiences with live recording in several dozen different
venues, the microphones, even those with noise in the 18 to 20 dB range,
are usually quieter than the venue by quite a bit. If it wasn't for the
venues and the performers, recodrings with dynamic range of up to 90 dB
would be pretty common.

Exactly, hence my question to Graham (which he never answered) as to whether
he made all his recordings in an anechoic chamber. The notion of making
recordings without performers or a venue is a pretty strange one. There is
also the question of where and how this recording is going to be played
back. The ratio between the loudest sound that the listener can tolerate and
the background noise of even a specialy constructed listening room is not
going to be more than around 75-80 dB.


David.

Stevenson = LYING MORON
 

Phil Allison wrote:

The CCIR 468-3 weighing curve is nothing like flat.

http://en.wikipedia.org/wiki/ITU-R_468_noise_weighting

I quoted the *A* weighted figure you moronic ****e.

Graham

Dirty Digital [sic.]
 

"Eeyore" wrote in
message
Arny Krueger wrote:

"Eeyore" wrote
in
David Looser wrote:
"Eeyore" wrote
Arny Krueger wrote:

The noise floor of a well-made recording is on the
order of 75-80 dB.

Have you gone completely MAD ?

I can beat you by easily 50dB.

Do you do all your recording in an anechoic chamber
then?

What do you think the noise floor of a competently
designed studio is ?

30-ish dB.

Good Lord ! You're WAY off the mark. 30dB is NOISY to me.
I'm talking about proper commercial high-end music
recording facilities that have cost MILLIONS to build.

You said "competently-designed", not SOTA.

You need to visit some top London studios I know. The
silence is deafening.

Most studio music is made in far lesser studios.

Also, a lot of that silence goes away after you add living, breathing
musicians. Just sitting there, they make noise.

Dirty Digital [sic.]
 

Don Pearce wrote:

Eeyore wrote:
Don Pearce wrote:
Eeyore wrote:
David Looser wrote:
"Eeyore" wrote
Arny Krueger wrote:

The noise floor of a well-made recording is on the order of 75-80 dB.
Have you gone completely MAD ?

I can beat you by easily 50dB.
Do you do all your recording in an anechoic chamber then?
What do you think the noise floor of a competently designed studio is ?
I think Arny meant S/N ratio rather than noise floor.

I sense evasion here.


A decent studio will be somewhere around the 20dB mark.

Not in my book.


It is the exceptional studio that is much below that, and you won't find it
in a city.

Yes you can when it's really good and it'll be 10-12 dBA. Not all parts of
cities are that noisy and it's amazing what clever construction methods can
do.

The biggest problem is keeping the noise of the air conditioning down
actually.

If you are measuring in dBa then sure, no problem. Most of the residual
SPL is structure-borne LF stuff that is seriously expensive to eliminate.

PROVE IT. I hope you have the instrumentation. I hope for my part I can arrange
access to a suitable studio.

Graham

Dirty Digital [sic.]
 

"Eeyore" wrote in
message
Arny Krueger wrote:

"Eeyore" wrote
Jim Lesurf wrote:
Arny Krueger

The noise floor of a well-made recording is on the
order of 75-80 dB. Below that is the noise floor,
usually from analog (thermal) sources. This is many
times more than is required to properly dither a
proper 16 bit conversion.

I'd be interested in seeing data on the noise
performance of studio mics and preamps, etc.

Neumann TLM103. Equivalent noise floor of 7dBA
http://www.neumann.com/?lang=en&id=c...id=tlm103_data
Dynamic range of the microphone amplifier (A-weighted)
131 dB

That's real good. The Rode NT1-A is a bit more
economical and speced to have self noise of 5 dB.

The fly in the ointment is coming up with a musical
acoustical source that goes up to 138 dB when played in
a typical sort of way.

What fly would that be ?

Reality. Remember Graham, I make 100's of live recordings in dozens of
venues every year.

Have you any idea what PEAK acoustic levels some
unamplified instruments can reach ?

Absolutely.

110 dB happens, and when it happens it hurts the hearing of the musicians.

130 dB takes an aircraft carrier launching jets, etc.

Dirty Digital [sic.]
 

Phil Allison wrote:

"Eeysore Steaming Great Pommy Charlatan & ****wit "
John Phillips wrote:

While such an extreme phase respose offends my engineering sensibilities
I still have not found credible references to tell me about the
audibility of phase shifts. If anyone knows of such material I would be
interested.

Try your hearing.

** That's what all the ****wit audiophools say.

What do YOU use to listen with ?

Do you have a BNC inserted in the back of your neck ?

Graham

Dirty Digital [sic.]
 

Phil Allison wrote:

"Eeysore Criminal Pommy CHARLATAN"

Don't even get me started.

** LOL - would sure like to FINISH you once and for all

Why do you think there were Apogee filter
upgrades for PCM3324As and the like ?

** Yawn....

Now ****ING answer the damb QUESTION !

Graham

Dirty Digital [sic.]
 

"Eeyore" wrote in
message
Eeyore wrote:

Arny Krueger wrote:

IME it is not difficult to find mic preamps and
converters that are quiet enough that they don't
materially add to the noise coming out of a typical
capacitor microphone.

These days certainly not a problem whatever.

In fact, taking that TLM103 example, with +13dBu ? max
out, it may not even need any preamp at all to connect it
to a converter if intending to use it at high SPLs.

Well, that takes extreme situations like the proverbial deck of an aircraft
carrier launching jets.

When I'm recording with capacitor mics, the mic preamps are usually set for
30-45 dB gain. Of course I don't work with many well-trained professionals,
who are maybe 10 dB or more louder. I often use the 26 dB pads on my 02R96
mic preamps.