a cap and a low value resistor in series between chassis ground and the power cord's green wire will do the same thing regardless if its built into the unit or not. But the only way to integrate it so that the unit passes UL is to put it in a power cord.
Unbalanced audio always adds its power supply noise to the signal. Which is the unavoidable in its design. When DC gnd is linked to GNd from the outlet, now you making pathways that power supply noise to sum from several power supplies.
In full scale terms (dbfs of hardware) yes. Even though you used to seeing the weighted level (LUFS) used to express dynamic range on a recording and using either DB or LU as the units
There is no simple formula that will give you x dBFS = y LUFS, because it depends on the frequency content of...
Everyone uses the same azimuth.in a format. That is why cassettes are consistent. But this post does remind me to get an alignment tape for a machine I have that malfunctioned on me (otari MTR10) and I can't find my MRL tapes. I think its the bias card. Recently, I just obtained an extender card...
I was wondering who was using those chassis that was sold on ebay when I was looking for a preamp chassis to build on.
One of these days, I should ramp up one of my designs since "the best" are boutiques instead of corporate builds.
For speaker cable most of the time it makes no difference. As most amplifier speaker outputs are balanced. But it depends on the amp. The wire run length and gauge size dictates what kind of performance. So how does that compare with a 10 gauge contractor extension cord at the same length?
There is limits to it depending on the frequency balance and relative power. But what really limits it is too short of a distance between load and soft. which sounds over cranked and distorted. The other extreme of having the distance great reveals a soft and weak recording. But normally an...
You can only compress a mix so much. But limiting which is a type of compression is the loudness war key. In the video above in post 129, the magic circuit that allows them to go above 0dbfs is a limiter.
Compression is a necessary evil in recording and production. Without it everything would be thin and out of scale with each other when the instruments are recorded individually.
converters made or modified for CD mastering changes the depth of the mix and like always the relative distance...
A few places I use in in stereo aligning analog inside equipment. Back when I was exposed to the pro recording world I interned as a recording engineer and would use the scope to set up stereo recording something. Because microphone placement is that critical. Sad thing is I can't tell anyone...
Great Hifi sound doesn't have to cost a lot of money either. Even though stereo world should have abandoned RCA/unbalanced connections a long time ago which is a source of a lot of issues.
JBL monitors were never great, but reviewing monitors are way different in a lot of ways than some mixing booth monitors. A prime example for "studio monitors" for high end hifi applications would be PMC MB3 XBD-A . Which is a standard in movie mastering studios: