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Old 2007-09-22, 10:48 PM
PencilGeek PencilGeek is offline
Join Date: Sep 2007
Location: Northern California
Re: Reconsider ISO posting policy?

Originally Posted by Tubular
It's cool, you didn't come off too harsh to me. I hope this doesn't sound so harsh though: if you are taping and trading as an amateur, the music doesn't "deserve to be free", it is free. Unless it is sold, then they are sold bootlegs. There is really no way to guarantee that they are not tampered with...
Correction, it's only free if I give it away -- which I've done already for 30 years. Never mind the 20 years I didn't trade anything because I found the attitudes and (tape-trading) politics of too many tape traders rather offensive to my free and giving nature. Having studied audio engineering in college for 3 years, of course I think I'm better at mastering my own stuff and knowing what to do with it than Joe Sixpack -- which is why I don't want Joe scewing with stuff that has my name on it.

Also, and I don't want to start a war , what is your opinion of the Korg MR-1000 5.6 MHz 1-bit recorder vs. something like a Sound Devices 722 or 744 that records natively at 24/96 or 24/192? I have only heard 2.82 MHz SACDs, don't think I've ever heard 5.6 ones...
I don't know if you looked up my previous posts, but I did buy the Kork MR-1000 to replace my Panasonic SV-255. When I was looking, I didn't know about the others you mentioned (and really have only heard of them, haven't looked them up). I did look at many choices and picked the Korg because it provided phantom power to my mics (no more preamps), was really no bigger than my SV-255, had separate DC power rails for mic preamps vs. digital circuitry, and boasted of high-end mic preamps (at least they boasted about them). I really didn't have time to do a full blown comparison between decks because I only had 3 days to find one, and figure out how to make it arrive at my house by a 10AM deliver immediately after a holiday I could then drive 400 miles to see a show that evening. If you do the math on the Korg, then the 5.6Mhz DSD encoding is roughly a little higher than 192/24 PCM.

But from what I know of PCM, yes bit depth is really doing to make a huge difference. But that doesn't mean a 1-bit encoding can't accurately be converted to a word-based PCM encoding. After all, when the original music was sampled, they essentially had to put all of the bits into some type of FIFO and convert them from random 1's and 0's to a 24-bit value. And if you think about the problem of doing this operation, it sounds a lot like they had DSD style 1-bit data in the first place and figured out a numerical value to associate with those 24-bits of 1's and 0's. I say that because 1's and 0's don't really have any type of amplitude -- whereas a 24-bit value does represent amplitude.

For the only show I taped with it: sounded absolutely amazing, far better than anything I ever heard from DAT. But part of the credit is owed to the Greek Theater in LA -- because IMO, they've always had great sound as long as I've been going there. I was also sitting 13th row center, which is exactly where I estimate the best sound will be (depending on the theater and distance between the speakers). So this just may have been the perfect storm for the perfect recording: deck, seating, theater, pa system.

I hate the bands that you like.

Last edited by PencilGeek; 2007-09-22 at 10:58 PM.
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