mitchco

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About mitchco

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  1. Hello @cdnguy, thanks for your comment. You may have missed this sentence in my article, "I am not saying that dynamic range is the end all beat all attribute that determines the overall enjoyment of a musical piece, but there is a minimum bar that should be met on any musical piece." Of course there are other factors. In the case of the CCR double disc, which I own and have played to death, the mix and master is indeed "flat" or in record production terms, "dry". I had asked a remastering engineer from HDTracks, who got the 1/2" CCR analog tapes, what he was planning on doing to give the mix more depth and there was not much that can be done as the recording is generally bright sounding, with little depth (i.e. delay and reverb in production terms), and already printed to tape. So frequency response shaping and effects also play a role in how a mix/master sounds. Dynamic range compression is "candy" to our ears. A little bit generally tastes good, too much and ... is my point.
  2. Re: Genelec - have another look, they moved to Class D amps, including their top of the line studio monitors: https://www.genelec.com/studio-monitors/sam-studio-monitors/1236a-sam-studio-monitor Genelec presented a feasibility study about moving to Class D in 2013: https://www.genelec.com/sites/default/files/media/About Us/Academic_Papers/2013_rose.pdf If I find some time, I will put my Class D amp on the bench and get screen shots from a scope as I am set up to test amps. Will compare it to the NP Class A.
  3. Thanks Chris, I am looking forward to reviewing the Kii Threes. The Dynaudio Focus 600 I reviewed use Class D amps and I remember them sounding very good. I have not seen any comments to say otherwise... In the pro audio world, virtually every brand (e.g. Genelec, Focal, KRK, JBL, PreSonus, Neumann, etc.) have active studio monitors powered by Class D amps. On the pro audio forums I see very few negative comments on the sound of Class D with these monitors In my case, I run a large 2 way active monitor setup with a Class D power amp driving the woofers up to 630 Hz and digital XO over to a Nelson Pass Class A SE amps, as the compression drivers have much lower power requirements. Sounds great to my ears. For sure, a few years back or so, there seemed to be quite a bit of variability in the sound of Class D amps, but that variability seems to be becoming less of an issue today. Not saying it is a completely solved tech, but certainly less variable. I wonder if @dallasjustice has some thoughts on his Class D amps he is using with his JBL 4367's...
  4. Hi Andy, thanks for your comment. For the article, I arbitrarily chose crest factor DR to get the point across about overly compressed sound, with a handy database to compare. Interesting example you have there Let me give it some thought for a potential follow-up article. Cheers! Mitch
  5. @ednaz As mentioned in the article, mastering engineer, Bob Katz has an excellent article on an integrated approach to metering, monitoring and leveling practices. This helps answer both at what listening level one wants to be listening to, plus the addressing dynamic range issue. Highly recommended for you and your recording friend.
  6. Hi Dave, I sorted on DR10 or less = 11,390 titles, which is a about 70% of my collection. Cheers, Mitch
  7. @freddie40 Very interesting. How many of those are non-classical? I did something similar in JRiver. Made a playlist with everything I have that is classified as rock, blues, alt, etc., but contains no classical or jazz type recordings. Sorted by DR with a total of 16,564 titles. DR11 or less = 13,106. About 20% of my collection is DR12 or greater.
  8. After reading your article I wanted to see what my collection looked like.  I set up a field in JRiver to show DR results and went about testing about 4200 CDs.  What I did different was to break down the difference between Redbook, Hi-Res PCM and Hi-Res DSD.  Here are my results:

     

    RedBook  1982 CDs

     
    1-7  227   (11.45%)
    8-10  780   (39.35%)
     
    Thus 0-10 (BAD)  1007  (50.76%)
     
    11-13   782   (39.46%)
    14-18   194   (9.79%)
     
    Thus 11-18 (Good)  976  (49.24%)
     
     
     
     
    Hi-Res  2200 CDs
     
    1-7  86   (3.91%)
    8-10  592  (26.91%)
     
    Thus 0-10 (BAD)  678  (30.82%)
     
    11-13   1142   (51.915%)
    14-18   382   (17.36%)
     
    Thus 11-18 (Good)  1524  (69.27%)
     
    __________________________________________________________________________________________
     
     
    Hi-Res  PCM  1313 CDs
     
    1-7  79   (6.02%)
    8-10  407  (31%)
     
    Thus 0-10 (BAD)  486 (37.01%)
     
    11-13   668   (50.88%)
    14-18   160   (12.19%)
     
    Thus 11-18 (Good)  828  (63.06%)
     
     
     
    Hi-Res  DSD  887 CDs
     
    1-7  7   (0.79%)
    8-10  185  (20.86%)
     
    Thus 0-10 (BAD)  192  (21.65%)
     
    11-13  474   (53.44%)
    14-18   222   (25.03%)
     
    Thus 11-18 (Good)  696  (78.47%)
    1. mitchco

      mitchco

      @freddie40, very cool! It would be awesome if you could post this as a reply to the article!

    2. freddie40

      freddie40

      Sorry I did it wrong, but I have corrected it, I hope :)

       

    3. mitchco

      mitchco

      @freddie40 No, you did it right, thanks! And very interesting! I will have a look through my collection and post as well. Cheers!

  9. Thank you very much Thomas for your purchase and support! I am happy to hear the size of the color images turned out, as that was my main concern going to print. I am still waiting on my printed copy Lol! Thanks again Thomas! Kind regards, Mitch
  10. Update: full color paperback edition available: https://www.amazon.com/Accurate-Sound-Reproduction-Using-DSP/dp/1520977905/
  11. @Booster MPS Thanks for your comment. That was one of my goals. @mkrzych yes, crying shame man. @mav52 - thanks mav, in the  Obsession with Compression article, "there is no evidence of any significant correlation between loudness (& implied compression) and commercial success" Given the success of Back In Black referenced in the article, which is not hyper-compressed, one has to wonder what is going on in in the recording, mixing and mastering industry...
  12. Hey Arch, good to hear from you and thanks. One has a slightly different view when sitting in the mixing or mastering chair, especially when comparing ones own mix/master to other competitive mixes/masters. Also, our ears seem to be attracted to compression like candy. But too much and one gets sick. Bob Katz's AES article on An Integrated Approach to Metering, Monitoring, and Levelling Practices has everything one needs to produce a dynamic mix and master. I think it makes good sense and my sound reproduction system is calibrated in this way. Not sure why the industry has not adopted en masse, as the process will produce a better quality and more dynamic sound for the music lover. Keep up the good writings Archimago.
  13. Thanks Alex, looking forward to your next article.