 Andy Simpson wrote: | | I thought that eventually you would take my hint.... liquid damping in microphones is something I have given some thought to - especially given that air comes under 'fluid dynamics' - but I will get to my own solution shortly..... |
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The liquid dumpling in tonearms do works very nicely – eats transients though… BTW, let me to make it very generally… the certain thing are already done and successfully used in this direction buy the peoples I know but unfortunately I’m not at liberty comment on it further.
| Andy Simpson wrote: | | But seriously, there is not much to be gained by directly answering your comments about smoke or air or mushrooms. Sounds 'popping up like mushrooms' implies many things but you will have to be clear about your criticism in order to be answered with any value.
I will say that you could not (in your wildest dreams) imagine worse pre-amps, converters & cables which my poor microphones were connected to (Jim has some details).
Also, with these microphones (as I will elaborate upon later) there is the issue of 'callibration'. More later.... |
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Well, Andy, if you present your files as demonstration of “anything” then you need to make them presentable, otherwise - what are you doing? Your files have absolutely removed all harmonics – juts the spikes of isolated notes. I can get the same sound if I load the output tube of my Milq not to 1000R but to 10.000R - when the plate is almost idle it does the same “quality”. The irony is that the many idiots in the industry do consider that time of sound as “quality” and the industry do move toward to this punchy direction. I do not if it was your objective or it was just a result of bad amplification and AD processing. I think you need to demonstrate a result that would send a message what you consider “Simpson’s level of recording”. The files that you send do not do it, and in a way laughable. Perhaps if I were a person who is accustomed to recognize the contribution of microphones then I might be able to recognize in your files something that you intended to say but I am blind to the microphone’s discrimination.
| Andy Simpson wrote: | | Also, if you are hosting a few of my files, you might also put one of the string quartet recordings there too - firstly, as this is the only recording which represents a 'wet' acoustic and secondly, as this is a very clear example of strings recorded without resonance on sustained notes (constant excitation resonance) - something no other microphone can do to this extent. More on this critical subject later too. |
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I did not download anything else after the first two files.
One more thing. My personal interest in the entire subject is the “Ribbon Saga”. The last year I dived into the Ribbon Story with Aleksandar Radisavljevic from Serbia built for me the “Water Drop” tweeter. (You might get in touch with Alex BTW as he is a very well educated scientist who spent a lot of years learning and experimenting with ribbons and you might find an interesting collaborator). My experiments with my ribbon driver indicated that a ribbon transducer is losing its attractiveness with each hertz. At HF ribbon has a lot of advantages but as we move down to frequency range a ribbon is losing dynamic, transients and got desensitized tonally. Frankly it was exactly what you demonstrated in your recordings.
Alex, disagree with me and he feel it is possible to with Ribbon down, and I wish him luck to try it. I feel that an any lower frequency ribbon get removed from it perfect ultimate position of flux’s dead spot and all games are off. There are many other reasons in wish I would like do not go now. Still. You your recording you perfectly illustrate the concept. We can disregard the pure pre-amps, converters & cables. Pay attention that “rightness” of sound in your recording is gradually decries with frequency range doing down. At sub ~700Hz sound do practically annoying and got completely evaporated from the bottom. Call it as my prejudice but it is what I would expect from a ribbon transducer that filtered to work full range. Here is the 3D oscillograph of your orchestral piece. There is not typical LF "warps" in there…
Rgs, Romy the Cat |