The recording was done in 5.6 MHz DSD, so I'll have to downsample for CD. We did a quick one using Audiogate to downsample and burn a CD at the same time,
So what are your AudioGate settings for downsample?
The recording was done in 5.6 MHz DSD, so I'll have to downsample for CD. We did a quick one using Audiogate to downsample and burn a CD at the same time,
I bought the Nama/Punte Celeste...highly recommended. I love Argentinian music.
So what are your AudioGate settings for downsample?
What do you recommend? Todd did the downsampling on Thursday, and I didn't note the settings. I was thinking TPFD and no dither.
TPDF is dither.
If I were to use Audiogate for SRC, I'd use:
1. Sharp rolloff filter at (-3dB @ 42kHz)
2. Aqua dither
3. Normalize "Off"
First off, thank you Gary and the rest of the PNWAS for organizing and hosting this event.
I guess I'll be the first to comment regarding the difference between live and recorded. Everyone should be aware the club system is very, very good. The meeting room is not an ideal acoustic space, but most of us have to deal with less than ideal acoustic spaces. The recording was excellent and Todd Garfinkle was terrific. I'm sure he could have squeezed out even more given time to do a meticulous set up.
That said, I thought the differences were pretty significant. Shaina's voice lost it's 'sparkle' and her guitar was sounded detatched rather than closely held. The recording did a great job of capturing the breathiness of Shaina's voice and Benjamin's embouchure but wan't able to capture how the sound of the saxophone projected into and filled the recording space. The argument could be made that if we were blinded to the performer's and reproduction system, our visual cues would have less to do with differentiating between live and recorded and I will concede that may, in part be true. But I don't doubt the anyone would have that much trouble telling the difference.
I'll be interested to see what others thought...
sorry that is quite usual depending on the mics positioning, there is really no reason clapping should sound normal, except if you actually record it how the musician would hear it from the stage (its been known..
sorry that is quite usual depending on the mics positioning, there is really no reason clapping should sound normal, except if you actually record it how the musician would hear it from the stage (its been known..
Yep. Yet you see people who don't understand this, and have no knowledge of the mics used or the mic placement in a recording using unnatural-sounding applause as a point in judging recordings and equipment all the time.
Tim
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