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[bubobubo]

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[andyjm]

Hi there;

First sorry my english i just hope you understand thats all. I wonder if there had been any recording all the way digital, from all the music production chain, i mean then from the microphone to the storage that can be cd or why there is not a homepage that remaster or master all digital and sell all digital in just 16 bit 44? i mean let take a example:

there is a orquestra that plays Mozart´s Elvira Madigan with 1 or many digital microphones all go digitals and is save in a hard drive or server and then is sell for all the people in the internet, i hope in 16 bit44

another exaple they take some old reel to reel master tapes (i possible the first one) of for example Louis Armstrong what a wonderful world and remaster all in so much digital that it is possible and store all in a server or hard drive.

ps. for me is enough 16 bit 44 but i wonder if it is possible to have 18 or 20 bit 44 or 40 khz?

Bubobubo,

There was a fashion some time back for recording stage productions or orchestral works using no more than a crossed stereo pair of microphones in front of the stage and no mixing or post production. Some loved it, I wasn't a convert.

A number of posters on here go on about wanting to hear 'exactly the sound in the studio when the recording was made'. I have been in studios when recordings were made, and as a general rule, the last thing you want is the sound in the studio when the recording was made.

There is a reason that studios have fancy mixing desks and all sorts of processing ability - and that is a plain simple recording is really not that good.

 

[davedotco]

Simple 'Blumlein' type techniques can work very well for small ensembles but you are very much at the mercy of the acoustics and the skill of the engineers, not great for everyday commercial recording.

As to what you hear in a studio, that will depend a lot on what is going on and what stage the recording is at. When people talk about "exactly the sound in the studio when the recording was made", what they usually mean is the final 2 channel mix produced by the studio before it becomes mangled by the mastering engineer.

Whilst there is a degree of sense to this, it is not clear cut. An awful lot of 'mangling' goes on in post production that enthusiasts would probably be against in principle but is essential in terms of producing a listenable final product. In fact most modern pop music is all postproduction, the 'artists' are pretty much interchangeable.

 

[nopiano]

I recall Nimbus recorded like this for a while, but there was always far too much acoustic, and it was like listening in a bathroom. I'd always go for slightly too close over too distant, once the novelty of the depth effect wears off!

 

[Electro]

I recall Nimbus recorded like this for a while, but there was always far too much acoustic, and it was like listening in a bathroom. I'd always go for slightly too close over too distant, once the novelty of the depth effect wears off!

I am the opposite I love to hear the acoustic of the venue, for me it is just as much a part of the music as anything else .

I have put together my system in an effort to bring the music and the venue to my room ( recording permitting) so that it captures the sound as if you were sitting in the venue itself.

I love the sense of space and being able to define the venue boundaries including the reflections they cause, it adds to the realism imo .

 

[abacus]

Virtually all recording and mastering is done in the digital domain, (And has been for decades) with modern studios using 24/96 to allow a greater headroom for mastering, it is then converted into the format required. (CD is 16/44)

Hope this helps

Bill

 

[nopiano]

I recall Nimbus recorded like this for a while, but there was always far too much acoustic, and it was like listening in a bathroom. I'd always go for slightly too close over too distant, once the novelty of the depth effect wears off!

I am the opposite I love to hear the acoustic of the venue, for me it is just as much a part of the music as anything else .

I have put together my system in an effort to bring the music and the venue to my room ( recording permitting) so that it captures the sound as if you were sitting in the venue itself.

I love the sense of space and being able to define the venue boundaries including the reflections they cause, it adds to the realism imo .

I do too, and I realise I didn't express myself ideally as I was using the very 'wet' Nimbus as the reference, and that is too extreme. I certainly want to be transported to the venue not have performers 'in my room' as is so often (wrongly) highlighted as the aim of good hifi.

 

[bubobubo]

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[bubobubo]

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