Please note that at 55:24 the equation in red color is UPDATED and not valid anymore after talking with Ron personally. Again thank you for posting this great video.. Ron is a legend!
Yes, I noticed that, too, but only after the recording was done. Sorry about that. I'll look much closer in OBS to what the level is, for today's stream. Thanks for your patience , I'm new to this live streaming thing.
looking forward to the streams. PLS can the audio be amped/normalized for RU-vid, as I had to max out my computer and monitoring volume before it was even hearable.
Belated thanks for the feedback. I did see your comment right after you made it and did my best to get the audio up. The audio level meter in OBS was a little mysterious to me, as the peak level seemed to be quite a bit higher than what I assumed is RMS/average level. When I edit videos in Final Cut Pro I use that meter a lot, and it seems visually to be much easier to get average levels right and still not max out full scale. I did put a very light compression in my mixer on the send to the livestream, assume that helped. Thanks for this, and to others for commenting when it could do some good.
As a local New England, USA resident, live recording engineer, and audiophile, who's attended numerous BSO concerts over many decades, this is an intriguing look into how this current BSO Team is recording concerts for both live broadcasts and recordings; using around 50 separate micropphones in one of the acclaimed best halls for symphonic music in the world! The use of multi-microphone techniques is useful for post-production mastering. However, referencing a Bob Katz commentary about audio special effects: having such extensive resources available, one must use them sparingly to not acoustically foul the original intent of the composer, conductor, musicicans and avid listeners; akin to adding too much or too many condiments to a gourmet meal! A difficult balance must be carefully struck by the producers to detail the performance characteristics without creating considerable disruptions in the nuances of listening to the live performance as intended for listeners in the hall or performance venue, of course at the discretion of the producers and performers. This team has indeed produced Grammy Award winning live concert recordings of the Shostakovich Symphonies under the direction of Andris Nelsons, but the quality of the original orchestral detail and instrument "placement" in the recordings does not accurately present the live listeners perspective or representative audio quality present in the hall. Comparison with much earlier live broadcast recordings using essentially a minimalist technique of 2 to 5 microphones in the hall, easily demonstrates the issues that will and have arisen in the more recent mult-microphoned recordings. And, regrettably, further processing in various digital formats used in local digital and HD broadcasting systems reveals even more issues with these recent recordings due to phasing anomalies, comb-filtering, and compression. So, Bob Katz' advice needs to be seriously considered in all recording activities, especially knowing that more microphones can introduce more problems... but can potentially provide worthwhile enhancements to recordings and live productions when used carefully accopmpanied by intense critical listening.
Thank you very much for sharing all this ! I am a french sound engineer and music lover, I find this interview with detailed explanations very exciting... A piece of history and passion.
Thanks for these comments! I didn't realize this would live forever. Or that subscribers would get notifications that it was live! Sorry I cut it off before people's presentations; I'll let it run next week and let people show their projects, which is what we do in these meetings. They DO go on a long time, but it's pleasing to be able to say what you want to a group and to get their opinions, plus, how often do you get to do a tedious project that's important to you and get to show it off? WIth this group, it's every week that you get to do that. Maybe I should post the full recording from yesterday, after editing out the RU-vid flailing? I'll put the URL here later today. Thanks for subscribing! It's fun to have subscribers.
In response to your question to me in the chat, A couple of months ago I stumbled across an interesting video of yours on early digital recording I think. I must have subbed at the time.
Incredibly interesting. I can’t say it all sounds good to my ear but I keep thinking about abstract expressionist painting, the way they differ from a Rembrandt for instance but have their own value.
stunning collection, though some models make absolutely no sense easthetical wise. I wonder how differenct or rather how they would sound in a modern mix, i lwould love to hear a full song only using the old microphes.
Thanks!!! For this video. Bookmarked to watch the whole interview later. A question. The studio is where the super-famous Bernstein & Glenn Gould recording of the Bach keyboard concerto was made? If yes I think this should perhaps be put about. ( I see a Steve Hoffman forum on the studio is at page 111 now.)
Hi Peter, thanks for the nice comment. Yes, the studio is the same, I believe, and is the 30th St. Studio in NYC. Not sure how else to put that about. And, yes, that thread is slowly still moving. That 's my thread, too. It's been a lot of fun over the years. -Dan
@@DansoundSeattle So many great images of CBS 30th Street online and the range of what was recorded there is extraordinary. So much gear in the place. I can imagine you all being frustrated that it was disappeared for rather lame reasons. Those were high performance work groups. My career was UN development, and I know that nothing is as addictive and productive as a high performance work group. Those in that minority which experience them often spend a lifetime seeking to get back in one again. The Organization Development Network is a network of high paid process consultants trying to create those conditions in companies. Asians and especially Japanese spontaneously create them much more easily than Americans who are stuck with the cult of the overpaid superman. Has there been chat on this angle? George Martin had it going in his Caribbean studio; excellent documentary on that.
I think Partch’s Two Studies on an Ancient Scale is approachable for people not use to listening to microtones. I like the Kronos Quartet arrangement of it, and heard some dreamy arrangements for flute and vibraphones.
Genius Bob ! I could have used this 40+ years ago when working on speaker power amp design. Should I optimize for noise ? (the rise upward on the left of the 3D graph), no, looks like I need to optimize the headroom (right side of the 3D graph rise with input level). OR just nonlinearity nearby the fundamental f Hz or anywhere. Display just even harmonics vs. odd harmonics.... Or maybe that is part of your 4D or was that D4 additional tool ? Would be neat to run a tape machine as DUT. Now I have to think of ways of making a transfer function that makes you go W T H !!!! Great demo !
Great presentation Mr. Sauro. Thank you from the bottom of my heart. Due to the disparity between formulas, charts, room or absorption calculators and actual results, my acoustic work(studio design) is largely based on empirical observation after experimentation. Using all available information, no matter how careful the plan is, you still have to measure the actual results(REW), and make adjustments. There is always a disparity between the math and the room, resulting in a lack of trust in those charts, formulas, and calculators. This is how I have proceeded for decades, feeling that acoustics is a nearly incomprehensible set of variable results that changes with every room. Only through actual experience using different materials and different placement in different rooms to solve acoustic problems based on measured results, can useful ends be achieved. The information presented here(excellent science) reveals why there are so many problems in acoustic design. The question about the believability of manufacturer data sheets caused me to yell out loud - NO !! Thank you for the confirmation(and the laugh). Empirically it's obvious if you ever do the work, but nice to have some science to back it up and explain it. Thank you, thank you, thank you Ron Sauro. I have learned a lot.
Huh… ARP, SP, and RCA pressing plants for singles SUCK!! I have dozen upon dozens of Motown singles pressed by them and they look like a piece of pepperoni with grooves in ‘em. Noisy as hell!! THEY are a complete embarrassment. Period. I purposely went out and purchased the LPs with the hit singles (or extended length cuts) in order to great around the pitiful quality of the singles. When ever possible (I’m in the Midwest) my preference was to get the styrene single as ‘injected’ by Monarch in Los Angeles. Went to some effort to obtain as these were sold out on the West Coast and RCA and ARP were the pressing houses that supplied the Midwest. Fragile… yes. Can’t back cue without burning. Won’t stand up to multiple plays without wear (which is why they are in a collection and have been archived). Thumb your noise, Mr. Recording Engineer… if you’d like… but these styrenes were dead silent, crisp, nice. Those ‘vinyl’ pressing houses used re-cycled vinyl and mostly didn’t care about anything other than the 45 not skipping. Get the record out… maybe the consumer would lay the money down for the album. A double win. A lot of those styrenes will compete head on with the CD cut of the same song (mono/stereo not withstanding). This is playback equipment that’s pretty good… not upper end audiophile but pretty good. Passive RIAA equalization, etc. The most expensive piece of equipment is my two years and 60 years of critical listening. That’s my rebuff to you. Interesting about that weigh-in from the Canadian engineer that got styrene singles shipped to him… which he produced lacquers from… and he stated the finished product (‘vinyl’ composite molded 45s) were ‘good’.
Was Harry Partch's housekeeper while UCSD discussed making dupe instruments for the Smithsonian Museum, so heard all of his instruments, but he confided to me his hobo vocals were his legacy. I read his Genesis of a Music and listened to Philip Glass derivation of Partch's tonality. I think Glass mocked mainstream also. Do not loiter!
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How wonderful. Two extraordinary musicians: Harry Partch inventing instruments and Charles Corey explaining us why and how to use them. Congratulations and thank you for sharing this wonderful presentation.
I ALWAYS record orchestras with an ORTF pair above the conductor's head and a bit back towards the audience. It's never failed me. Choirs, usually a spaced trio. I might add a soloist or piano mic but that's often just to make the conductor feel better. Thank you for sharing this!
Mr Schowerer is also responsible for recording one of coolest psychedelic albums of the 60's: "THE EYES OF THE BEACON STREET UNION. Strongly recommended and vastly underrated.
Oh, and I've been listening to it for the last little while on RU-vid ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-VnR6l5_paIw.html . Someone there said that Tom Wilson was producer, but Discogs says that he did the "Recitation" at the beginning but Wes Farrell was producer, and that Gary Kellgren and Val Valentin were also engineers for it at different studios than Mira, where it says George was at the time. Do you know who recorded what? Thanks!
@@DansoundSeattle Unfortunately I have no so deep going info's, but having original pressing of this LP. Cover gives quite detailed informations that Tom Wilson did recitation, but not being a producer this time. Producer was Wes Farrell. There were two engineers: George Schowerer at Mirasound Studios and Gary Kellgren at Mayfair Studios. But Val Valentine is described as director of engineering. The thing is that this album is distinctly better sounding and more original musically than tons of usual post-1967 pop psychedelic albums of the era. BTW, I know you are one of the most advanced tracker of American recordings history. It is possible to contact you directly?
@@analogowy5458 It's flattering, the bit about advanced tracker of American recordings history, but don't think it's deserved as I have a fairly narrow focus. I appreciate it, though, and enjoy looking into the parts I'm interested in. Sure, PM me with your email address and I'll send you an email. Always happy to talk about this stuff and learn more. Thanks!
I had read in various sources, and even an interview with Mike that everyone liked the Teletronix LA-2A, but it was not to be seen in any of the slides, nor did anyone mention it. I'd like to know more if possible.
If protecting Label put a small rim of Sur-Tac which can be found in $1.00 Stores its also called needable eraser which pencil artist work with 1 pck will do yrs of work $1.00 or Less
I had the pleasure to meet Bob Paquette at his Microphone Museum in Milwaukee back in 2013. He opened the place up just for us and gave us a personal tour. Here is a video clip I made with Bob Paquette demonstrating the sound of a 1924 audio monitor... and giving some other explanations. You could literally feel the air in the room turn back in time. So glad to know that Sylvia Massy is taking care of Bob Paquette's fantastic collection that he'd told us he had started when he worked as a soundman in Milwaukee for "war bond" rallies during World War II. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-DfE2sIPC1kE.html
