Show us Videos of your systems! Let's see and hear them!

[Mr Boochie]

Thanks! Note the video.

Replaced the Epson projector with a new 77" OLED. Had to replace the wiring (added 8K HDMI) so the L/R/C/Sub got new cable too. I think I hear a difference in the new cable.

Good news!

Sometimes, interconnects and cable connectors get old. Or form some oxidation on the contacting surfaces. It's also good to work the connections, from time to time.

 

[toddalin]

Good news!

Sometimes, interconnects and cable connectors get old. Or form some oxidation on the contacting surfaces. It's also good to work the connections, from time to time.

The center and sub had 33 year old 12-gauge "speaker cable" that had sulfated and turned blue/green under the skin. The L/R had 33 year old 14-gauge Monster cable that still looked about like new. They all got new, over-sized, super fine strand, 12-gauge wire that is 99.999+% Cu. I think it tightened up the bass a bit, even when the sub is not used.

Also all four are now the same length whereas the left was considerably shorter before. The old interconnects on the speaker ends were ferrous spade lugs and are now copper/gold Z-plugs (banana). These had already been applied to the old wires at the amp ends.

 

[Mr Boochie]

The center and sub had 33 year old 12-gauge "speaker cable" that had sulfated and turned blue/green under the skin. The L/R had 33 year old 14-gauge Monster cable that still looked about like new. They all got new, over-sized, super fine strand, 12-gauge wire that is 99.999+% Cu. I think it tightened up the bass a bit, even when the sub is not used.

Also all four are now the same length whereas the left was considerably shorter before. The old interconnects on the speaker ends were ferrous spade lugs and are now copper/gold Z-plugs (banana). These had already been applied to the old wires at the amp ends.

Yes, copper rot is the death of many lines. There's really not much you can do, as the manufacturing technique and type of copper-alloy used determine much of the wire's fate.

I've seen copper rot in the most $$$ 10-year-old cables, and clean Belden wiring in 70-year-old-plus amps.

Looks like you are good to go, now!

 

[carlos269]

I always warm up my systems for the night’s listening sessions with the Cure. Friday night was no exception but it had extra meaning with the passing of Perry Bamonte, who played on this great song and left us with many other great performances. Perry, your legacy will live on forever:

 

[Mr Boochie]

That is one of my favorite Cure songs.

Thanks!

 

[Mr Boochie]

My significant other's favorite Cure tune. [Sorry for the volume change in the beginning. This was before I learned how to disable the auto-volume setting and set the correct recording levels in my camera.

Close To Me.
Off The Cure's - "Head On The Door." VAP Records. 35151-27. VAP (Japan) pressing. 1985.
Run-out: 35151-27-A-1 A3

 

[Mr Boochie]

A crazy night. Recorded this tune, again (first try, four years ago, was not the best). The mics were not well placed during the first attempt.

But, when I checked the recording off the camera's SD card, it was all distorted—like WAY overmodulated! Even though, while I was monitoring the recording in real time, and everything sounded fine through my headphones.

Checked all camera connections and replaced the SD card with a new one. Rerecord. The same distortion. New backup battery in my mixer. A new fully charged battery in the camera. Same distortion. Even changed the camera bodies — same crap.

It turned out to be the A/V media software on my computer. When Windows upgraded it, it set the volume level to 300% (a tiny little icon that I overlooked).

Now the samples sound fine. Go to rerecord. Check the song, AND it's in MONO! UGH!!!!

The mixer sets the parameters to MONO after I replace the battery.

Now I know why it took so long to rerecord the song — tempting the Bad Mojo Gods. Luckily, everyone was out of the house at the time.

She's Gone.
Off "Abandoned Luncheonette." Atlantic Records. SD 7269. Presswell Records Company, Richmond pressing. 1973.
Run-out: ST-A-723947-D PR

 

[highend64]

A crazy night. Recorded this tune, again (first try, four years ago, was not the best). The mics were not well placed during the first attempt.

But, when I checked the recording off the camera's SD card, it was all distorted—like WAY overmodulated! Even though, while I was monitoring the recording in real time, and everything sounded fine through my headphones.

Checked all camera connections and replaced the SD card with a new one. Rerecord. The same distortion. New backup battery in my mixer. A new fully charged battery in the camera. Same distortion. Even changed the camera bodies — same crap.

It turned out to be the A/V media software on my computer. When Windows upgraded it, it set the volume level to 300% (a tiny little icon that I overlooked).

Now the samples sound fine. Go to rerecord. Check the song, AND it's in MONO! UGH!!!!

The mixer sets the parameters to MONO after I replace the battery.

Now I know why it took so long to rerecord the song — tempting the Bad Mojo Gods. Luckily, everyone was out of the house at the time.

View attachment 3664985

She's Gone.
Off "Abandoned Luncheonette." Atlantic Records. SD 7269. Presswell Records Company, Richmond pressing. 1973.
Run-out: ST-A-723947-D PR

It happens. With digital signal, reference to 100, i like to have it at about 95. My rule of thumb is i like to keep to at least 3db of headroom. This keep it from clipping and a better S/N ratio.

 

[Mr Boochie]

It happens. With digital signal, reference to 100, i like to have it at about 95. My rule of thumb is i like to keep to at least 3db of headroom. This keep it from clipping and a better S/N ratio.

I do 100%. I also record with the system pretty loud — like 90+ dB at one meter. I use studio-quality, large-diameter condenser mics that can handle over 100dB. Set to a hyper-cardioid pattern with sound panels, this helps to minimize extraneous noises.

 

[Audiofreak71]

 

[carlos269]

The human voice needs to be rendered in a way that sounds human or as one would expect it to sound from the microphone feed. Here is an audio recording from last night’s listening session that showcases this aspect:

 

[Mr Boochie]

Did they record that in the stairwell of Headley Grange?

 

[carlos269]

To me a true measure of how great systems sounds is how they sound across the various genres and with audio recordings of different levels of sound qualities. Even a table top all-in-one system can sound pretty good with demonstration tracks, but how many systems excel at reproduction of all music? A system should not be music genre specific but should be music genre agnostic. Some musical genre want to sound raw & unpolished and their reproduction needs to sound authentic, like this audio recording from last night’s listening session:

Jack White likes to record his music with an all analog vintage tube chain in the studio. Love that guitar tone.

 

[Mr Boochie]

To me a true measure of how great systems sounds is how they sound across the various genres and with audio recordings of different levels of sound qualities. Even a table top all-in-one system can sound pretty good with demonstration tracks, but how many systems excel at reproduction of all music? A system should not be music genre specific but should be music genre agnostic. Some musical genre want to sound raw & unpolished and their reproduction needs to sound authentic, like this audio recording from last night’s listening session:

The system should convey what the artist and engineer wanted. Not necessarily the purity of the sound or production.

Searching for the perfect sound and experience is part of the problem with many of today's concerts. The artist may lose some lasting emotional subtleties.

Thanks for listening. Off my soap box, now.

 

[Audiofreak71]

To me a true measure of how great systems sounds is how they sound across the various genres and with audio recordings of different levels of sound qualities. Even a table top all-in-one system can sound pretty good with demonstration tracks, but how many systems excel at reproduction of all music? A system should not be music genre specific but should be music genre agnostic. Some musical genre want to sound raw & unpolished and their reproduction needs to sound authentic, like this audio recording from last night’s listening session:

Jack White likes to record his music with an all analog vintage tube chain in the studio. Love that guitar tone.

No systems will do all genres 100% but some will get close. I have put together a system through careful pairing of gear , proper setup , acoustic setup and professional calibration and it gets close , some say it does all genres perfectly but nothing is perfect unfortunately.

Did they record that in the stairwell of Headley Grange?

It’s possible with what her engineers go through to get good sound lol

 

[Mr Boochie]

It’s possible with what her engineers go through to get good sound lol

Shutter! Do they have the "Headley Grange" app on their mixing consoles?

 

[toddalin]

Shutter! Do they have the "Headley Grange" app on their mixing consoles?

 

[carlos269]

The system should convey what the artist and engineer wanted. Not necessarily the purity of the sound or production.

Searching for the perfect sound and experience is part of the problem with many of today's concerts. The artist may lose some lasting emotional subtleties.

Thanks for listening. Off my soap box, now.

How does anyone of us really know what the artist and engineer wanted? How does one confirm that or validate what the artist and engineer wanted?

 

[carlos269]

No systems will do all genres 100% but some will get close. I have put together a system through careful pairing of gear , proper setup , acoustic setup and professional calibration and it gets close , some say it does all genres perfectly but nothing is perfect unfortunately.

It’s possible with what her engineers go through to get good sound lol

I am not sure what “perfect” means, absent of measurements, in sound reproduction but all systems can play back all musical genres; the question is to what degree they can render them in a way that the listener enjoys them. I find that all my top systems achieve a high level of enjoyment, to me.

 

[tourmax]

I am not sure what “perfect” means, absent of measurements, in sound reproduction but all systems can play back all musical genres; the question is to what degree they can render them in a way that the listener enjoys them. I find that all my top systems achieve a high level of enjoyment, to me.

Once my music sounds good to me, its “perfect”.

Whether that means tone controls completely flat, “smiley face” EQ or lots of dsp is irrelevant as far as I’m concerned.

Now, that might mean it sounds sharp/shrill to someone else or flat and lifeless.

Irrelevant.

if I’m enjoying it, its “perfect”.