Because I am a fan of time and phase coherent speakers, I once asked Jim Thiel if he knew of any recording studios that used his speakers as monitors and he told me he knew of one that was locally based but of no others. From my experience in a large pro studio the monitoring systems alone seemed to be an afterthought and the choices were driven by so-called "industry standards," or, worse, were custom installations. Yikes, can you imagine the phase incoherence of some of these designs? No wonder we have speaker manufactures inverting the phase of the midrange drivers relative to the tweeter and woofer. Plus 4th order crossovers with high phase angles at the transition points. No wonder playback has continued to be the pursuit of the holy grail for so many.
Does it bother you?
I'm a recording engineer who has worked in some of the world's top facilities. Let me walk you though an example signal path that you might find in a place like, say, Henson Studio A:
1. Microphone: Old. Probably a PCB inside. Copper wiring.
2. Mic cable: Constructed in house with $1/ft Canare Star Quad, solder, and a connector that might have been in the bottom of a box in the back.
3. Wall jack: Just a regular old Neutrik XLR connector on the wall.
4. Cable snake: Bundles of mic cables going to the control room.
5. Another XLR jack.
6. Another cheap mic cable.
7. Mic preamp: Old and lovely sounding. Audio going through 50 year old pots.
8. Patchbay: Another cheap copper cable is soldered into a patchbay where hundreds of connectors practically touch.
9. TT Cable: Goes from one patch to the next in the patch bay. Copper. No brand preference.
10. DB25 connector: Yes, the same connector you used to connect a modem to your computer in 1986. This is the heart and soul of studio audio transfer.
11. DB25 cable to the console: 25 strands of razor-thin copper wire, 8 channels of audio, sharing a ride.
12. The mixing console: PCB after PCB of tiny copper paths carry the audio through countless op amp chips.
13. DB25 cable to the recording device: time to travel through two more DB25 connectors as we make our way to the AD converters or tape machine.
14. AD conversion: More op amp chips.
15. Digital cable: nothing fancy, just whatever works. USB and Firewire cables are just stock.
...and this is just getting the audio into the recorder.
Also:
None of this equipment has vibration reducing rubber feet, it's just stacked haphazardly in racks. Touching.
No fancy power cables are used, just regular ol' IEC cables.
Acoustic treatment is done using scientific measurements.
Words like "soundstage" and "pace" are never uttered.
Does it bother you? Do you find it strange that the people who record the music that you listen to aren't interested in "tweaks," and expensive cables, and alarm clocks with a sticker on them? If we're not using any of this stuff to record the albums, then what are you hearing when you do use it?
1. Microphone: Old. Probably a PCB inside. Copper wiring.
2. Mic cable: Constructed in house with $1/ft Canare Star Quad, solder, and a connector that might have been in the bottom of a box in the back.
3. Wall jack: Just a regular old Neutrik XLR connector on the wall.
4. Cable snake: Bundles of mic cables going to the control room.
5. Another XLR jack.
6. Another cheap mic cable.
7. Mic preamp: Old and lovely sounding. Audio going through 50 year old pots.
8. Patchbay: Another cheap copper cable is soldered into a patchbay where hundreds of connectors practically touch.
9. TT Cable: Goes from one patch to the next in the patch bay. Copper. No brand preference.
10. DB25 connector: Yes, the same connector you used to connect a modem to your computer in 1986. This is the heart and soul of studio audio transfer.
11. DB25 cable to the console: 25 strands of razor-thin copper wire, 8 channels of audio, sharing a ride.
12. The mixing console: PCB after PCB of tiny copper paths carry the audio through countless op amp chips.
13. DB25 cable to the recording device: time to travel through two more DB25 connectors as we make our way to the AD converters or tape machine.
14. AD conversion: More op amp chips.
15. Digital cable: nothing fancy, just whatever works. USB and Firewire cables are just stock.
...and this is just getting the audio into the recorder.
Also:
None of this equipment has vibration reducing rubber feet, it's just stacked haphazardly in racks. Touching.
No fancy power cables are used, just regular ol' IEC cables.
Acoustic treatment is done using scientific measurements.
Words like "soundstage" and "pace" are never uttered.
Does it bother you? Do you find it strange that the people who record the music that you listen to aren't interested in "tweaks," and expensive cables, and alarm clocks with a sticker on them? If we're not using any of this stuff to record the albums, then what are you hearing when you do use it?
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- 78 posts total
- 78 posts total