I just use the album (song list) normalization, which brings the levels down to nominal 0db as needed. Works quite well, except it does cost you a bit more time before the actual conversion starts, since it has to scan all the songs first to find the highest level, to bring them all down (or...
I've never heard any good analogies. They all show a lack of comprehension of subtle differences by the person making the analogy.
Exactly. Cable can do nothing but degrade the signal in different ways. They for the most part are not neutral. When you have a highly revealing system, these...
It is a fine unit for the price. I picked up one (mastering version) a couple of weeks ago, and have been listening on and off while it is running in. It's got about 200 hours on it now. The first 150 hours was pretty variable, but it is settling nicely. I'm being dangerous and running it...
May not really be a grounding issue. Might be interesting to note if the hum is in both channels or just one. If just one, it could be a bad cable between turntable and input jack (either red or white side), bad cartridge wiring, or one channel open at the cartridge.
--Bill
Rockitman,
To be an Apples to Apples comparison, the stereo cartridge or system must be run in mono to produce anything completely comparable to a mono cartridge, as the mono cartridge is completely oblivious to vertical modulation of the stylus. Background noise of the vinyl, various...
I have one (L-78 in a Nantais Custom II plinth) here with an ET2 on it.
While it does do a pretty decent job, it's not without issues. For one, speed isn't 100% stable, though better than most belt drives with DC motors. The whole thing 'works' because of the 100+lb plinth and some custom...
Yeah, you're right. Unfortunately, it doesn't agree with MRL tapes, AND WORSE, it often doesn't agree with their own dubs (which vary from project to project).
Good Show! Opus three will provide alignment tones if you specifically request them. They agree closely with the MRL standard.
Yeah...
It's well worth mentioning that you don't get the best playback, even with great outboard electronics, if you don't fine tune the head azimuth for the particular tape you're playing.
It would be nice to think that any professionally recorded master or dub would be of exactly the same...
Though a little OT I thought I'd clarify my attempt at describing the rear wall trap in my studio.
First, I should say that I've never really analyzed what any of these traps are, or what their target ranges are. I (stupidly) assumed that they were as I understood them to be when I spec'd...
Not entirely. In the listening room, the speakers become the instument. Behavior of the room can destroy the presentation of the reproduction of the instrument in much the same way as the recording of it insofar as frequency/phase/harmonics response is concerned.
In essence, what's being...
Well that certainly is counter-intuitive. What isn't clear to me, then, is what becomes of the room modes? Since they are determined by LWH measurements, shape of the area, etc., how can an additional sub change a fundamental of the room? Or is it a matter of moving it around to a more...
Assuming you don't have any serious active room modes, that's probably true. My room has quite a buildup of LF 100Hz and below, down to about 25Hz, so I have to use traps to tame that down. Using and positioning subs to try and tame that would result in a lot of standing waves and irregular...