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Why don't ears pop?
I've often wondered this. If somebody speaks into your ear, you do not hear
the pop you often get on a microphone in the same position do you. Likewise when listening to music in a hall with your ears and then over headphones from a set of mikes you notice the echo on the latter but not on your ears. People say its the way the brain processes the sound, but if that is the case maybe now we can actually emulate this in some way for recording? No I don't mean going back to a close miked up every single instrument and a mixer you need to be Twizzle to operate. Brian -- ----- - This newsgroup posting comes to you directly from... The Sofa of Brian Gaff... Blind user, so no pictures please! |
Why don't ears pop?
On Thu, 10 Aug 2017 11:22:47 +0100, "Brian Gaff"
wrote: I've often wondered this. If somebody speaks into your ear, you do not hear the pop you often get on a microphone in the same position do you. Likewise when listening to music in a hall with your ears and then over headphones from a set of mikes you notice the echo on the latter but not on your ears. People say its the way the brain processes the sound, but if that is the case maybe now we can actually emulate this in some way for recording? No I don't mean going back to a close miked up every single instrument and a mixer you need to be Twizzle to operate. Brian Ears are pressure transducers. This means that the ear drum almost doesn't move when sound hits. A blast of air from a pop has very little pressure, but a lot of velocity. Any microphone that isn't omni will respond to air velocity - it is a combination of velocity and pressure response that sets directivity. All pressure is omni, all velocity is figure 8. A mixture of the two is one of the many flavours of cardioid. d --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus |
Why don't ears pop?
On Thu, 10 Aug 2017 15:32:44 +0100, "Brian Gaff"
wrote: Sometimes I wish I'd never asked. OK then, I was under the impression that directivity was due to phase of the wavefronts on both sides of a diaphragm. In the case of the ear, there is only one clear side though. Also ears are log, and most amps are linear, so I'd always assumed that it was the loudness ratio that caused the effect in the ear and using headphones etc makes the ears perform differently. Brian Nope - none of that. Sorry. It is about phase, but also amplitude. The velocity response of a mic - the figure 8 aspect - has a positive phase for air approaching from the front, and obviously a negative phase for sound from the back. It has an amplitude response that is the Cos of the approach angle. Take the vector sum of the pressure response, which is unity and constant phase all the way round, and the velocity response which is as I just described, and you get a cardioid. From the rear the pressure response and velocity response are the same amplitude and opposite phase so they cancel. And that is pretty much it. d --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus |
Why don't ears pop?
On Thursday, 10 August 2017 13:22:52 UTC+3, Brian Gaff wrote:
No I don't mean going back to a close miked up every single instrument and a mixer you need to be Twizzle to operate. Brian With the exception of classical, and some jazz recordings, close mic is and has been for many years, standard practice. One also adds "air mics" in a pair or Decca tree. So on a multitrack recording, 48 channels, each recorded close mic is by no means unusual. Iain |
Why don't ears pop?
On Thu, 10 Aug 2017 09:21:18 -0700 (PDT), Iain
wrote: On Thursday, 10 August 2017 13:22:52 UTC+3, Brian Gaff wrote: No I don't mean going back to a close miked up every single instrument and a mixer you need to be Twizzle to operate. Brian With the exception of classical, and some jazz recordings, close mic is and has been for many years, standard practice. One also adds "air mics" in a pair or Decca tree. So on a multitrack recording, 48 channels, each recorded close mic is by no means unusual. Iain This pic of how the BBC handle St. John Smith Square is helpful. There are two Blumlein pairs high above the orchestra, and a single spot mic on the solo harpsichord. Just visible on the high balcony on the right is one of the ambience mics. https://www.gearslutz.com/board/atta...t_johns_01.jpg In the past when I have been there, they have also had a Jecklin disc a few yards behind the conductor. I'm betting they aren't going to use the output from all of there, but tracks are cheap so why not record them all? d --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus |
Why don't ears pop?
In article ,
Brian Gaff wrote: I've often wondered this. If somebody speaks into your ear, you do not hear the pop you often get on a microphone in the same position do you. The closest type of microphone to the ear is an omni type. And those are also the least prone to popping. Look at some old TV studio shows where the hand mics were much smaller/neater than today's incredibly large and ugly devices. All omnis. Sadly the vast sounds levels of just about everything these days requires a directional and or noise cancelling type. Most of which pop just by looking at them. Sadly, many seem to think the mic their favourite pop star uses must also be the best mic for any use. And they are very very wrong. -- *I feel like I'm diagonally parked in a parallel universe* Dave Plowman London SW To e-mail, change noise into sound. |
Why don't ears pop?
On Thursday, 10 August 2017 20:46:30 UTC+3, Dave Plowman (News) wrote:
Look at some old TV studio shows where the hand mics were much smaller/neater than today's incredibly large and ugly devices. All omnis. By hand mics used in TV, do you mean hand held mics? If so they have never been serious contenders in high quality recording. Sadly the vast sounds levels of just about everything these days requires a directional and or noise cancelling type. Most of which pop just by looking at them. Vocalists and solo instrumentalists who are taught correct microphone techniques rarely have a problem, and modern pop shields are very effective. Sadly, many seem to think the mic their favourite pop star uses must also be the best mic for any use. And they are very very wrong. Do they ever get the chance to find out? A Telefunken 47 costs as much as a small car. Iain |
Why don't ears pop?
On Thursday, 10 August 2017 13:22:52 UTC+3, Brian Gaff wrote:
when listening to music in a hall with your ears and then over headphones from a set of mikes you notice the echo on the latter but not on your ears. What you are hearing from you "set of mikes" is often not representative of the acoustic sound in the venue, in many other respects. But it can be. A good example is a classical ensemble recorded with a tree (three omnis, or one omni and two cardioids, with or without outriggers - there are many possible variations) The main mics, (the tree) are set above the conductor's head. During rehearsals, I like to sit at the top of a step ladder, just behind the conductor's rostrum at about the same height as the tree. I listen with wireless headphones (Sennheiser 1200) and am impressed by how close the tree sound (headphones on) is to the acoustic sound (no headphones) Iain |
Why don't ears pop?
Brian Gaff wrote:
------------------------ I've often wondered this. If somebody speaks into your ear, you do not hear the pop you often get on a microphone in the same position do you. ** Likewise when outside in a wind, microphones produce a roaring noise that ears do not normally hear. However, if you blow air directly into your ear via a flexible tube they certainly do. Wind impinging on a flexible surface causes it to vibrate at a low frequency, so all mics are subject to "wind noise". Cardioid types produce more since they have the proximity effect boosting low frequency output. Likewise when listening to music in a hall with your ears and then over headphones from a set of mikes you notice the echo on the latter but not on your ears. People say its the way the brain processes the sound, ** Yes, ears "listen through" room reverberation and the longer you remain in the same reverberant space the better they get at it - so it is very much a brain thing. Microphones have no such ability so when you monitor a mic with headphones you hear the true ratio of direct to reverberant sound. ...... Phil |
Why don't ears pop?
Don Pearce wrote:
--------------------- Ears are pressure transducers. This means that the ear drum almost doesn't move when sound hits. ** That is a non sequitur. Ignoring proximity effect, diaphragms of omnidirectional (ie pressure) mics move the same amount as those of cardioids when exposed to the same sound. The cardioid has to be pointed at the source to get max output. If the mic is a dynamic, excursion is inversely proportional to frequency cos output depends only on voice coil velocity. If it is a condenser type, excursion is independent of frequency cos output depends only on diaphragm displacement. A blast of air from a pop has very little pressure, but a lot of velocity. ** But is not a sound at all. See my other post in this thread. ..... Phil |
Why don't ears pop?
Brian Gaff wrote:
------------------------ OK then, I was under the impression that directivity was due to phase of the wavefronts on both sides of a diaphragm. ** Correct. A cardioid mic has openings that make the amplitude and phase of a sound the same on both sides of the diaphragm when arriving from the rear - resulting in no output. If the sound source moves to one side, a significant imbalance rises and the diaphragm moves accordingly. A figure 8 mic has a null for sounds arriving at right angles to the diaphragm for the same reason. ...... Phil |
Why don't ears pop?
Well, I still find that recordings of orchestras with a pair of mikes sounds
more realistic. However in other situations, as some instruments are quiet compared to others, I can see why they need close miking. Also of course there is the background noise whether it be audio in a venue or just hiss. I have heard some awful Piano recordings where the his plays along as if a noise gate is being used at a low level. Church organ recordings are often very audio noisy, as one cannot move a church away from traffic and sometimes the pump can be heard and with dodgy microphone placement the chuffing noises are out of proportion to the notes.. Also of course both piano and Organs have huge dynamic ranges. With more popular recordings one obviously uses some compression. Some are bad and you can hear it, others more sane and nice sounding! However even some pop recordings from eh past made by emi, seem to have a lot of problems with the pop effect, which were no obvious back in the day on a scratchy 45! Brian -- ----- - This newsgroup posting comes to you directly from... The Sofa of Brian Gaff... Blind user, so no pictures please! "Iain" wrote in message ... On Thursday, 10 August 2017 13:22:52 UTC+3, Brian Gaff wrote: No I don't mean going back to a close miked up every single instrument and a mixer you need to be Twizzle to operate. Brian With the exception of classical, and some jazz recordings, close mic is and has been for many years, standard practice. One also adds "air mics" in a pair or Decca tree. So on a multitrack recording, 48 channels, each recorded close mic is by no means unusual. Iain |
Why don't ears pop?
On Friday, 11 August 2017 10:28:15 UTC+3, Brian Gaff wrote:
Well, I still find that recordings of orchestras with a pair of mikes sounds more realistic. However in other situations, as some instruments are quiet compared to others, I can see why they need close miking. For orchestral realism, a pair, or tree is very good. The internal balance has to be right, but that's the responsibility of the conductor, A solo piano or harpsichord needs a spot mic to bring it into focus. Multi microphone technique is particularly useful if you want a band recording with punch and presence. I can't imagine Thad Jones/Mel Lewis recorded with a pair of mics :-))) Iain |
Why don't ears pop?
On Fri, 11 Aug 2017 08:28:10 +0100, "Brian Gaff"
wrote: Well, I still find that recordings of orchestras with a pair of mikes sounds more realistic. However in other situations, as some instruments are quiet compared to others, I can see why they need close miking. Also of course there is the background noise whether it be audio in a venue or just hiss. I have heard some awful Piano recordings where the his plays along as if a noise gate is being used at a low level. Church organ recordings are often very audio noisy, as one cannot move a church away from traffic and sometimes the pump can be heard and with dodgy microphone placement the chuffing noises are out of proportion to the notes.. Also of course both piano and Organs have huge dynamic ranges. With more popular recordings one obviously uses some compression. Some are bad and you can hear it, others more sane and nice sounding! However even some pop recordings from eh past made by emi, seem to have a lot of problems with the pop effect, which were no obvious back in the day on a scratchy 45! Brian Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata d --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus |
Why don't ears pop?
Don Pearce wrote:
---------------------- Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata ** Wow - Don can really play !!!! Plus a rather nice recoding of a sweet sounding instrument. Please tell us something about it - Don. The Bach T&F is well worth a listen too. Talk about " hiding your light under a bushel " !! ..... Phil |
Why don't ears pop?
On Fri, 11 Aug 2017 02:15:30 -0700 (PDT), Phil Allison
wrote: Don Pearce wrote: ---------------------- Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata ** Wow - Don can really play !!!! Plus a rather nice recoding of a sweet sounding instrument. Please tell us something about it - Don. The Bach T&F is well worth a listen too. Talk about " hiding your light under a bushel " !! Thanks... Kind of a bog standard three manual church organ from the late Victorian period. It had its manual bellows replaced by a motor in the early fifties, so I never got to play it hand-cranked. But they did know how to make nice instruments around the 1880s. I think it got tuned up and serviced about five years ago. Vox Humana and Diapason are its strong voices and I used both on these recordings. The recording was made with a pair of Rode NT1-A cardioids in a rough ORTF arrangement. d --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus |
Why don't ears pop?
Don Pearce wrote:
------------------------- Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata ** Wow - Don can really play !!!! Plus a rather nice recoding of a sweet sounding instrument. Please tell us something about it - Don. The Bach T&F is well worth a listen too. Talk about " hiding your light under a bushel " !! Thanks... Kind of a bog standard three manual church organ from the late Victorian period. It had its manual bellows replaced by a motor in the early fifties, so I never got to play it hand-cranked. But they did know how to make nice instruments around the 1880s. I think it got tuned up and serviced about five years ago. Vox Humana and Diapason are its strong voices and I used both on these recordings. ** Must sound spectacular live in the actual church. The recording was made with a pair of Rode NT1-A cardioids in a rough ORTF arrangement. ** Good Aussie built mics used cleverly !! OFTF is a variation on the famous "Blumlein pair" method which gives natural sounding ambience to a recording. Even on my PC speakers, the "sound" of the church was obvious. Nice going. ...... Phil |
Why don't ears pop?
On 11/08/2017 10:00, Don Pearce wrote:
On Fri, 11 Aug 2017 08:28:10 +0100, "Brian Gaff" wrote: Well, I still find that recordings of orchestras with a pair of mikes sounds more realistic. However in other situations, as some instruments are quiet compared to others, I can see why they need close miking. Also of course there is the background noise whether it be audio in a venue or just hiss. I have heard some awful Piano recordings where the his plays along as if a noise gate is being used at a low level. Church organ recordings are often very audio noisy, as one cannot move a church away from traffic and sometimes the pump can be heard and with dodgy microphone placement the chuffing noises are out of proportion to the notes.. Also of course both piano and Organs have huge dynamic ranges. With more popular recordings one obviously uses some compression. Some are bad and you can hear it, others more sane and nice sounding! However even some pop recordings from eh past made by emi, seem to have a lot of problems with the pop effect, which were no obvious back in the day on a scratchy 45! Brian Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata Impressive! -- Cheers, Rob |
Why don't ears pop?
In article , Phil
Allison scribeth thus Don Pearce wrote: ------------------------- Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata ** Wow - Don can really play !!!! Plus a rather nice recoding of a sweet sounding instrument. Please tell us something about it - Don. The Bach T&F is well worth a listen too. Talk about " hiding your light under a bushel " !! Thanks... Kind of a bog standard three manual church organ from the late Victorian period. It had its manual bellows replaced by a motor in the early fifties, so I never got to play it hand-cranked. But they did know how to make nice instruments around the 1880s. I think it got tuned up and serviced about five years ago. Vox Humana and Diapason are its strong voices and I used both on these recordings. ** Must sound spectacular live in the actual church. The recording was made with a pair of Rode NT1-A cardioids in a rough ORTF arrangement. ** Good Aussie built mics used cleverly !! OFTF is a variation on the famous "Blumlein pair" method which gives natural sounding ambience to a recording. Even on my PC speakers, the "sound" of the church was obvious. Nice going. ..... Phil Couldn't agree more a very nice "light" sound to it and yes, those simple mic arrangements sometimes cam be excellent, sounds fine here on the Quads:) Used to do this sort of thing many years ago wife was in the Long Melford choral society, pub first practice or performance second! OK there were a few errors but with simple mic arrangements was this very real "there" sound, still got the tapes done on a high speed Revox. As the Widor remember one day was at Ely Cathedral and there was an excellent rendition of this work someone just having a practice in the middle of the afternoon. Just after it fished there was a slip of a girl can't have been much more that around 12 or so years old just asked her was it you playing she nodded, seemed in a way that she was just too young! but she was real fan of his and one of his French contemporaries Henri Mulet who it seems still undiscovered a very talented girl and knowledgeable too. -- Tony Sayer |
Why don't ears pop?
On Sat, 12 Aug 2017 19:41:09 +0100, tony sayer
wrote: In article , Phil Allison scribeth thus Don Pearce wrote: ------------------------- Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata ** Wow - Don can really play !!!! Plus a rather nice recoding of a sweet sounding instrument. Please tell us something about it - Don. The Bach T&F is well worth a listen too. Talk about " hiding your light under a bushel " !! Thanks... Kind of a bog standard three manual church organ from the late Victorian period. It had its manual bellows replaced by a motor in the early fifties, so I never got to play it hand-cranked. But they did know how to make nice instruments around the 1880s. I think it got tuned up and serviced about five years ago. Vox Humana and Diapason are its strong voices and I used both on these recordings. ** Must sound spectacular live in the actual church. The recording was made with a pair of Rode NT1-A cardioids in a rough ORTF arrangement. ** Good Aussie built mics used cleverly !! OFTF is a variation on the famous "Blumlein pair" method which gives natural sounding ambience to a recording. Even on my PC speakers, the "sound" of the church was obvious. Nice going. ..... Phil Couldn't agree more a very nice "light" sound to it and yes, those simple mic arrangements sometimes cam be excellent, sounds fine here on the Quads:) Used to do this sort of thing many years ago wife was in the Long Melford choral society, pub first practice or performance second! OK there were a few errors but with simple mic arrangements was this very real "there" sound, still got the tapes done on a high speed Revox. As the Widor remember one day was at Ely Cathedral and there was an excellent rendition of this work someone just having a practice in the middle of the afternoon. Just after it fished there was a slip of a girl can't have been much more that around 12 or so years old just asked her was it you playing she nodded, seemed in a way that she was just too young! but she was real fan of his and one of his French contemporaries Henri Mulet who it seems still undiscovered a very talented girl and knowledgeable too. Every organist has to be able to play it virtually from memory - weddings! d --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus |
Why don't ears pop?
On Friday, 11 August 2017 12:00:19 UTC+3, Don Pearce wrote:
Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata Most enjoyable Don. Many thanks. I have another version from 1962, played on the organ at St Nicolas Parish Church, by my brother. I recorded it (in mono) with a single Film Industries M8 microphone on an EMI TR51, at 15ips. Saga Record (London)Ltd bought the rights. I was still at school, and terribly excited to have made my first "pro" recording. The definitive version has to be Peter Hurford (King's College Cambridge IIRC) on Argo or Decca. His interpretation beats yours by a hair's breadth, probably because he did not have Claire turning pages for him:-) Iain |
Why don't ears pop?
On Sun, 13 Aug 2017 13:26:32 -0700 (PDT), Iain
wrote: On Friday, 11 August 2017 12:00:19 UTC+3, Don Pearce wrote: Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata Most enjoyable Don. Many thanks. I have another version from 1962, played on the organ at St Nicolas Parish Church, by my brother. I recorded it (in mono) with a single Film Industries M8 microphone on an EMI TR51, at 15ips. Saga Record (London)Ltd bought the rights. I was still at school, and terribly excited to have made my first "pro" recording. The definitive version has to be Peter Hurford (King's College Cambridge IIRC) on Argo or Decca. His interpretation beats yours by a hair's breadth, probably because he did not have Claire turning pages for him:-) Iain I shall tell she is responsible for the descent from perfection (I wish!) d --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus |
Why don't ears pop?
On Sun, 13 Aug 2017 13:26:32 -0700 (PDT), Iain
wrote: On Friday, 11 August 2017 12:00:19 UTC+3, Don Pearce wrote: Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata Most enjoyable Don. Many thanks. I have another version from 1962, played on the organ at St Nicolas Parish Church, by my brother. I recorded it (in mono) with a single Film Industries M8 microphone on an EMI TR51, at 15ips. Saga Record (London)Ltd bought the rights. I was still at school, and terribly excited to have made my first "pro" recording. The definitive version has to be Peter Hurford (King's College Cambridge IIRC) on Argo or Decca. His interpretation beats yours by a hair's breadth, probably because he did not have Claire turning pages for him:-) Iain OK, Just listened to Hurford's version on Youtube. A little more than a hair's breadth. And that organ at King's sounds amazing. Some of the dirtiest pedals ever (real 16's?). And much wider dynamics than I could get. d --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus |
Why don't ears pop?
On Sunday, 13 August 2017 23:51:59 UTC+3, Don Pearce wrote:
OK, Just listened to Hurford's version on Youtube. A little more than a hair's breadth. And that organ at King's sounds amazing. Some of the dirtiest pedals ever (real 16's?). And much wider dynamics than I could get. Yes. He was a remarkable player, and a very pleasant man to work with. He is still going strong at 86 years. Iain |
Why don't ears pop?
On Saturday, 12 August 2017 21:43:36 UTC+3, tony sayer wrote:
Couldn't agree more a very nice "light" sound to it and yes, those simple mic arrangements sometimes cam be excellent. Indeed. Phil mention ORTF, which was at one time very widely used. Don mentioned the Jecklin disc - that was also very popular, and with two omnis, gave a wonderful open sound. XY and AB pairs seem to be the order of the day these days in most concert halls. Iain |
Why don't ears pop?
In article , Don Pearce
scribeth thus On Sun, 13 Aug 2017 13:26:32 -0700 (PDT), Iain wrote: On Friday, 11 August 2017 12:00:19 UTC+3, Don Pearce wrote: Try this. This me in my local church, which is closed for refurb. Just a pair of mics stood in the nave. Sorry about the playing - I completely screw the timing at one point (I blame Claire who was turning pages for me). Anyway, this is totally raw - no compression or anything. https://soundcloud.com/donpearce/widor-toccata Most enjoyable Don. Many thanks. I have another version from 1962, played on the organ at St Nicolas Parish Church, by my brother. I recorded it (in mono) with a single Film Industries M8 microphone on an EMI TR51, at 15ips. Saga Record (London)Ltd bought the rights. I was still at school, and terribly excited to have made my first "pro" recording. The definitive version has to be Peter Hurford (King's College Cambridge IIRC) on Argo or Decca. His interpretation beats yours by a hair's breadth, probably because he did not have Claire turning pages for him:-) Iain OK, Just listened to Hurford's version on Youtube. A little more than a hair's breadth. And that organ at King's sounds amazing. Some of the dirtiest pedals ever (real 16's?). And much wider dynamics than I could get. d Was the recording pre or post the recent restoration there Don?... --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus -- Tony Sayer |
Why don't ears pop?
On Tue, 15 Aug 2017 00:18:20 +0100, tony sayer
wrote: OK, Just listened to Hurford's version on Youtube. A little more than a hair's breadth. And that organ at King's sounds amazing. Some of the dirtiest pedals ever (real 16's?). And much wider dynamics than I could get. d Was the recording pre or post the recent restoration there Don?... I have no idea. I just searched on Youtube. d --- This email has been checked for viruses by Avast antivirus software. https://www.avast.com/antivirus |
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