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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?
trentpancakes
Post removed 
mapman's avatar
mapman
21,823 posts
 
The only thing that might concern me is if Trent tried an alarm clock with a dot on it and heard something different (the alarm maybe??) :)
trentpancakes OP
13 posts
 
The only thing that might concern me is if Trent tried an alarm clock with a dot on it and heard something different (the alarm maybe??) :)

I would be concerned, too! I would definitely love to see the results of double-blind ABX testing with devices like the Clever Little Clock and "Proton Alignment" products. I suspect the must difficult part of the test would be getting manufacturer consent.
mapman's avatar
mapman
21,823 posts
 
Well, there are many things that go on in high end audio world that leave it vulnerable to criticism.

My estimate is what you read on a site like this is about 50% information and 50% misinformation or noise. 100% information and 100% misinformation or noise in some cases, though that is rare. Lots of propaganda mixed in as well. Maybe not bad really. Might even have what is called our national "news" media these days beat. Standards are on the decline overall these days, you know.
jjrenman
279 posts
 
But it still doesn't explain how audiophile listeners only seem to find extreme positives when they listen to traditional studio recordings on expensive stereos.

How do you come to this statement. The bulk of recordings that have "extreme positives" are a small minority. I'd say that far less than 10% of my collection is audiophile quality recordings, with the bulk coming from small specialty labels that are obsessed with sound quality.

The rest of the recordings have lots of issues but I don't post about how my system lets me hear the issues.

In fact there are far to many recordings that are so bad I can only listen to them as backround music.
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