Have you ever been in an anechoic chamber?
I have, years ago, for a hearing test, just before starting a course of chemotherapy.
It's quite an odd experience, hearing a sound without any reverberation.
Have you ever been in an anechoic chamber?
I have, years ago, for a hearing test, just before starting a course of chemotherapy.
It's quite an odd experience, hearing a sound without any reverberation.
Chris
Common sense isn't anymore!
It would nullify the effect of the room though, and thus simply showcase the inherent sonic characteristics of both mics, within of course the constraints of such an environment.
It would be interesting to see though, which one would come out of it best.
Marco.
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It would be an OK test if recordings are generally made in anechoic chambers, and that's where it falls down.
Usually they're made in a good sounding room ....
Chris
Common sense isn't anymore!
The most accurate reproduction of what's on the recording. Every time this subject is raised people come up with the "but how can you know what was on the recording anyway" and "if it was an electronic instrument did it have a sound in the first place" type arguments and I reject these arguments completely personally.
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Perhaps Quad should have said "the closest approach to the finished master tape" rather than "...the original sound". But I agree entirely, making something that sounds good is more important than making something that is accurate - at least to me.
One problem with that approach is that the mics wouldn't pick up any off-axis sound. It's the off-axis response of a mic that sorts the men from the boys. A good on-axis response is fairly easy to achieve but then a mic is used in the real world a poor off-axis response can ruin things.
I reject your rejection
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I'm quite the opposite on that one! It must be accurate above all else. I'd pack this in immediately if I ever had thoughts of making stuff sound "nice". The "niceness" should come from the accurate reproduction of the original sound, allowing an open window into the performance. One should therefore be enjoying the performance itself and not the "version of the performance" delivered by a coloured system.
Arkless Electronics-Engineered to be better. Tel. 01670 530674 (after 1pm)
Modded Thorens TD150, Audio Technica AT-1005 MkII, Technics EPC-300MC, Arkless Hybrid MC phono stage, Arkless passive pre, Arkless 50WPC Class A SS power amp, (or) Arkless modded Leak Stereo 20, Modded Kef Reference 105/3's
ReVox PR99, Studer B62, Ferrograph Series 7, Tandberg TCD440, Hitachi FT-5500MkI, also FT-5500MkII
Digital: Yamaha CDR-HD1500 (Digital Swiss army knife-CD recorder, player, hard drive, DAC and ADC in one), PC files via 24/96 sound card and SPDIF, modded Philips CD850, modded Philips CD104, modded DPA Little Bit DAC. Sennheiser HD580 cans with Arkless Headphone amp.
Cables- free interconnects that come with CD players, mains leads from B&Q, dead kettles etc, extension leads from Tesco
Arkless Electronics-Engineered to be better. Tel. 01670 530674 (after 1pm)
Modded Thorens TD150, Audio Technica AT-1005 MkII, Technics EPC-300MC, Arkless Hybrid MC phono stage, Arkless passive pre, Arkless 50WPC Class A SS power amp, (or) Arkless modded Leak Stereo 20, Modded Kef Reference 105/3's
ReVox PR99, Studer B62, Ferrograph Series 7, Tandberg TCD440, Hitachi FT-5500MkI, also FT-5500MkII
Digital: Yamaha CDR-HD1500 (Digital Swiss army knife-CD recorder, player, hard drive, DAC and ADC in one), PC files via 24/96 sound card and SPDIF, modded Philips CD850, modded Philips CD104, modded DPA Little Bit DAC. Sennheiser HD580 cans with Arkless Headphone amp.
Cables- free interconnects that come with CD players, mains leads from B&Q, dead kettles etc, extension leads from Tesco