What's considered "Hi-Res"?
- Thread starter twoengine
- Start date
mfrench
Addicted Member
OK,... here is another comp, from this past weekend.
Source lineage:
2448: essentially straight to "tape", no edits, except slight gain added overall (to compensate for reserved safety headroom in the live mastering).
1644: via Reaper software. no other edits; straight from 2448 master file, as above.
Line Audio CM3 pair, as wide-ORTF stereo, which is 20cm spacing and 55º outward axis each, or, 20cm @ 110º
This is the Line Audio CM3 pair as wide-ORTF 20cm@110º
https://archive.org/details/pso2017-11-19.cm3pair_1644
https://archive.org/details/pso2017-11-19.cm3pair_2448
I've been particularly drawn to this recording over the other two sources (one is another two channel stereo recording; and, the rendered mix of the two discrete stereo recordings). Without further comment,...
Source lineage:
2448: essentially straight to "tape", no edits, except slight gain added overall (to compensate for reserved safety headroom in the live mastering).
1644: via Reaper software. no other edits; straight from 2448 master file, as above.
Line Audio CM3 pair, as wide-ORTF stereo, which is 20cm spacing and 55º outward axis each, or, 20cm @ 110º
This is the Line Audio CM3 pair as wide-ORTF 20cm@110º
https://archive.org/details/pso2017-11-19.cm3pair_1644
https://archive.org/details/pso2017-11-19.cm3pair_2448
I've been particularly drawn to this recording over the other two sources (one is another two channel stereo recording; and, the rendered mix of the two discrete stereo recordings). Without further comment,...
ev13wt
Super Member
That is very cool. The player can be opened in two tabs and they will stop each other. After listening to everything but the talking, I can say they both sound alike to me.
The recording is very ... raw. Is that the whole idea here? Which is quite cool. But a teeny bit of eq would have been my choice, its a bit bass laden and boomy, could be the venue too though. A tiny bit of fake "air" too.
Thats what I proceeded to do and moved the seating position a bit closer to the speakers and angled them inwards.
Very lovely experience! Thanks for sharing.
mfrench
Addicted Member
@ev13wt
It gets back to the ever long-lived debate of EQ, or, no EQ.
===>>> And, I'm not intending to dump that quagmire of a discussion into this. I'll explain my stance below,...
I'm a minimalist, and have long learned to live with the raw tracks, and all the bumps and grinds. It seems like everthing that I do is to mess things up when I've tried to EQ. So, I rarely touch that. If I feel a need to do any EQ'ing, it is in a reducing, or subtractive sense; like a High Pass Filter sweep; and as often as not, that will be to reduce invasive road noise, and the likes of that form of noise pollution.
I'm not a finishing/mastering engineer. I'm a live remote field recordist, a song catcher.
With my tinnitus, I wouldn't trust my ears for this job. I'm cotton ears, not golden ears. So, I don't trust myself to get it right.
My goal, is to please the conductor, which he has been absolutely thrilled with.
My restrictions (mostly self-conscious apprehensions), are what the venue does when I record. They say that by fire dep't regs, that they are required to isolate my position by seven seats on either side. That is fourteen paying seats that get roped off. So for me to go into the audience is a fairly solid step; all parties are fine with it, and I have free run. But, the paying audience might not be so happy with me bagging 14 prime seats in a row, in the prime spot.
I hear the complaints (very few), and comments. So I've become a bit self-conscious, and try to minimize my presence/profile.
I also run close, as I have been burned too many times by air conditioning systems, and their plenum whoomp in the room. Getting closer eleviates that problem. It's similar to a signal-to-noise ratio thing.
Its interesting that you suggest boomy,... the mics are directional, which immediately does a specified bass roll-off response to lessen the Proximity Effect (which is analogous to a standing bass wave on the mic capsule face - distortion). So they already have a predisposition towards reducing the bass.
But,... and its a broad one like Beyonces,... they are sub-cardioid, which has them trending towards less bass roll-off than a typical cardioid.
@ü∂îø g33k sp3@k.....
For a comparative listen, there is also an omnidirectional pair posted; same mic stand, with spreader bar velcroed to main microphone stand t-bar.
The omni response is definitely towards a deeper bass response; far more so than the directional pair stereo pattern.
let me grab the link,...
spaced omni pair:
https://archive.org/details/pso2017-11-19.dpa4060_2448
https://archive.org/details/pso2017-11-19.dpa4060_1644
The mic array looks like it is balancing the conducotrs music stand; reality 2nd row center. On it are the CM3 pair, as the nearest to center pair.
The omnis, are miniatures (DPA4060 lavaliers), and are at the end to the spreader bar that is just wider than the conductors podium. The spreader bars are rabbit ear antennae, with split pencil eraser caps as mic clips.
my thoughts:
the omnidirectional mics were too close together, and heard to much of each other. This caused some mis-located sound imagery cues "soundstage" miscues.
The omnidirectional pair recording listens far better as headphone playback material. It shares some strong commonalities with the way that binaural portrays itself.
Give the omnidirectional stereo recording a listen on headphones for a whole different perspective.
It gets back to the ever long-lived debate of EQ, or, no EQ.
===>>> And, I'm not intending to dump that quagmire of a discussion into this. I'll explain my stance below,...
I'm a minimalist, and have long learned to live with the raw tracks, and all the bumps and grinds. It seems like everthing that I do is to mess things up when I've tried to EQ. So, I rarely touch that. If I feel a need to do any EQ'ing, it is in a reducing, or subtractive sense; like a High Pass Filter sweep; and as often as not, that will be to reduce invasive road noise, and the likes of that form of noise pollution.
I'm not a finishing/mastering engineer. I'm a live remote field recordist, a song catcher.
With my tinnitus, I wouldn't trust my ears for this job. I'm cotton ears, not golden ears. So, I don't trust myself to get it right.
My goal, is to please the conductor, which he has been absolutely thrilled with.
My restrictions (mostly self-conscious apprehensions), are what the venue does when I record. They say that by fire dep't regs, that they are required to isolate my position by seven seats on either side. That is fourteen paying seats that get roped off. So for me to go into the audience is a fairly solid step; all parties are fine with it, and I have free run. But, the paying audience might not be so happy with me bagging 14 prime seats in a row, in the prime spot.
I hear the complaints (very few), and comments. So I've become a bit self-conscious, and try to minimize my presence/profile.
I also run close, as I have been burned too many times by air conditioning systems, and their plenum whoomp in the room. Getting closer eleviates that problem. It's similar to a signal-to-noise ratio thing.
Its interesting that you suggest boomy,... the mics are directional, which immediately does a specified bass roll-off response to lessen the Proximity Effect (which is analogous to a standing bass wave on the mic capsule face - distortion). So they already have a predisposition towards reducing the bass.
But,... and its a broad one like Beyonces,... they are sub-cardioid, which has them trending towards less bass roll-off than a typical cardioid.
@ü∂îø g33k sp3@k.....
For a comparative listen, there is also an omnidirectional pair posted; same mic stand, with spreader bar velcroed to main microphone stand t-bar.
The omni response is definitely towards a deeper bass response; far more so than the directional pair stereo pattern.
let me grab the link,...
spaced omni pair:
https://archive.org/details/pso2017-11-19.dpa4060_2448
https://archive.org/details/pso2017-11-19.dpa4060_1644
The mic array looks like it is balancing the conducotrs music stand; reality 2nd row center. On it are the CM3 pair, as the nearest to center pair.
The omnis, are miniatures (DPA4060 lavaliers), and are at the end to the spreader bar that is just wider than the conductors podium. The spreader bars are rabbit ear antennae, with split pencil eraser caps as mic clips.
my thoughts:
the omnidirectional mics were too close together, and heard to much of each other. This caused some mis-located sound imagery cues "soundstage" miscues.
The omnidirectional pair recording listens far better as headphone playback material. It shares some strong commonalities with the way that binaural portrays itself.
Give the omnidirectional stereo recording a listen on headphones for a whole different perspective.
Last edited:
ev13wt
Super Member
Since it is now quite late over here, I know what I will listen to at work tomorrow! With headphones.
Very cool stuff. I love mics and listening to this type of material, comparing microphones and positioning without any "effects" added, really teaches and adds input to that "critical" listening skill.
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