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GaryT

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About GaryT

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    Gold Coast
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    Australia
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    Gary

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  1. From a mixing and mastering perspective, aspects like depth and height come from frequency and phase cues, these can be captured in a live recording with a stereo or binaural mic setup. Or they can be carefully shaped in the studio by controlling the frequency content and phasing of individual tracks to bring out the effect. To make sounds come from outside of the width of the speakers you can push the sound there by controlling phase alignment between the channels. The extreme example of this is if you flip the phase of one speaker and play a simple test tone. that "pulling on your ear" feeling is part of what gives some recordings that "wider than the speakers" sound when used subtly and in conjunction with sub millisecond delays between channels (to simulate the width of your head) and a low pass filter (to simulate the HF attenuation of your head). Depth and height are a bit more subconscious, but still can be simulated by a good engineer, or captured naturally with a good live recording. Depth is a combination of mono-ness, reverb control, and eq. louder, brighter, dryer sounds tend to be closer, combine that with a hard mono and you can make things sound like they are right in your head, some subtle stereo reverb can push it a little further back so a sound is right in front of you. Height is more subconscious, being mostly a correlation of high frequencies being higher up, rich harmonic content being taller, etc. if you record a sound with a lot of high frequency reflections will be associated by your brain that with the sound be taller or coming from above you, conversely a sound with low frequency reflections will tend to sound like it is below you. these are subtle psychoacoustic effects that as far as I know aren't commonly used in studio. Real heigh effects from reflections can be captured with binaural microphone setups, but those effects only carry when listened to on headphones.
  2. Alright, doomy stuff. This is a band whose sound just works, imagine if Sleep was fronted by K.D. Lang. Not exactly but it's the best way I can describe them. Windhand - Soma
  3. I had the Ikon 2s for years and never felt like I needed more, I added a small subwoofer at one point but it stayed unplugged most of the time. I never got to hear the 7s, but I imagine they were just more of a good thing. Now I have the Opticon 8s and I cant see myself replacing them anytime soon.
  4. Yep, I think for the price of one of these really high end TVs, you could get a great projector+screen AND a pretty damn good 65-75" TV for too. A really good 85" TV is $10K at least, the cheaper ones at that size have too many compromises, particularly in backlight evenness and usually have poor pixel response times leading to a smeary blotchy image. A pretty damn good 65" TV is $2.5K, that remaining $7.5k gets a great projector and screen. or push up to a decent 75" TV for $3.5K and still have $6.5k for a nice projector.
  5. 85+ size oleds are out there, but they cost as much as a decent 3 series.. LG 88" 8K current model is $72000, previous model is still $60K I'm waiting for more dual layer LCDs to arrive, that's a technology that really looks to be the best way to keep the price/performance ratio up on LCD. They have a standard LED backlight (which could be anything from solid single zone, edge lit multi zone, or FALD), then a transparent greyscale LCD layer of reasonable resolution to shape the backlighting, then the main image layer. Much cheaper than OLED, better than current FALD systems with a few hundred to a few thousand LEDs, and still cheaper than micro-led backlights with many thousands of lighting zones. so where a good high end FALD LED TV might currently have say 480 zones (on the order of 30*16 zones if we think of them like pixels), dual layer LCDS essentially have 480, 720, 1080 or higher backlight resolutions.
  6. I can vouch for these as a great entry to planar open back cans. Easy to drive, massive soundstage, great value. though I recommend anyone who buys these looks at aftermarket pads for them.
  7. one wierd thing I've read is people plugging in their gear, setting the sound to PCM and getting dolby out, but then unplugging the optical and plugging it back in and got PCM. not sure if the TV detects an optical connection and acts on it weirdly, but some people are describing that. ALso, the PCM setting may very well be per input and per app.. so try setting it with every different app open and seeing if it behaves differently. Other than that, i'm out of ideas other than completely external streaming hardware.
  8. Love the 6! Is that a bronze? I've got one on a Debut Carbon and think it's a very full and rich sounding cartridge. Could it potentially be a capacitance issue causing a bit of a mismatch between the cart and your phono preamp?
  9. Seems odd to have the PCM setting in the samsung audio settings but allow apps to override that? definitely a bug in my opinion. There's no worse sound than having dolby shoved into your PCM DAC! Might have to look at using an external player like an Nvidia Shield that would allow you do force PCM stereo downmixing to the TV via HDMI and thus only PCM will come out of the Optical port.
  10. Without a band closer to your 40hz problem spot it's probably going to do more damage than good. If you have a spare MiniDSP, try using it for EQ between the phono stage and amp. have a tweak and see what it sounds like with a few DB pulled from 40hz. Digitising the signal and using the PCs EQ to correct it seems like a bit of an excessive solution when you have the spare DSP to correct it in hardware already. That said, a decent quality ADC is significantly cheaper than the higher end DSPs.
  11. Staying purely analogue, there are equalisers designed to be as transparent as possible for studio recording and mastering, however they cost significantly more than a basic DSP box. A half decent mastering grade stereo parametric analogue EQ is around $1.5K. You could look at a basic MiniDSP box between your existing Phono stage and amp for a very flexible solution, if you're using separate pre/power (or integrated with pre/power loop connections) you could have it correct the entire system in one go. Or even cheaper, a pro grade decent quality 31 band graphic EQ would be under $300 brand new, that said, a whole 31 band EQ just to knock a few DB off the 40hz range is a bit silly. So i'd lean towards MiniDSP which at least means you can upgrade from basic EQ to full room correction just by borrowing the matching microphone and taking a few readings.
  12. The cotton is too far from any conductors to make a difference, I just like the way it looks and feels!
  13. The cable comes with a transparent sheath to show off the full silver braid, but I decided to sleeve them with cotton for a more unique look. The cable is quite attractive on it's own though.
  14. Continuing metal week with: This Godless Endeavour by Nevermore. RIP Warrell Dane. These guys were my first live concert, opened by Dungeon (who remembers Dungeon?) "To set your mind free you must first just listen, Don't waste your life on worthless hate and contradiction"
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