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ARSCLIST  February 2011

ARSCLIST February 2011

Subject:

Re: Vintage coloration [was: How would a band be setup...]

From:

Louis Hone <[log in to unmask]>

Reply-To:

Association for Recorded Sound Discussion List <[log in to unmask]>

Date:

Sat, 5 Feb 2011 18:26:48 -0500

Content-Type:

text/plain

Parts/Attachments:

Parts/Attachments

text/plain (118 lines)

Goran Finnberg

> Sorry but no one of the general public will hear any difference at all.
>They are simply completely ignorant of this sort of thing having no clue
whatsoever to this sort of difference nor do they care at all.
>And over the telly no one, even the experts, will not hear any difference
at
all.
>The only thing that the viewer will react to is the picture and the music
will be the key points and if there is one mic or a zillion is of no concern
to Joe Smith in my experience.


Well I disagree. I don't know what kind of TVs you have in Sweden, but
elsewhere, people have much better sounding TVs nowadays. So to forego
quality because it might be coming out of a 4 inch speaker, is no longer a
valid argument in my book.

The tough part when you work for film is that if you do your job right, then
it is seamless and not many people will notice it. But if it's poorly done,
or not appropriate, then it sticks out like a sore thumb. Take ADR or Foley
for instance: if it's perfectly done, then you believe that the sound you
are hearing is the actual location sound. If it's out of sync or the wrong
sound (walking on wood when the visual is a cement sidewalk) then most
people will notice it. They may not be able to say what the problem is , but
unconsciously they will be bothered. And tome the recording I was describing
did not match the visuals. My client was unhappy with the original and happy
with the remake. Can't beat that argument.

Now if an expert does not hear the difference on a tv, then he/she should
not call themselves an expert. The public is much smarter than you think.

If your statement was true, then why would a musician/singer/band pay money
to have their recording mastered by you knowing that Joe Smith won't know
the difference? As professionals we always try to strive for the best sound
possible or else we should give up and become something else. I like to face
myself in the mirror and know at the end of the day, that I did my best even
if no one notices it.

Louis



-----Original Message-----
From: Association for Recorded Sound Discussion List
[mailto:[log in to unmask]] On Behalf Of Goran Finnberg
Sent: 5 fvrier 2011 15:37
To: [log in to unmask]
Subject: [ARSCLIST] Vintage coloration [was: How would a band be setup...]

Louis Hone:

> For instance, in a plugin, the
> capacitors dont wear out or dry out.

Electrolytic capacitors that have reached the end of their useful life have
increased ESR and loss of capacitance.

If the ESR goes up the capacitor distortion increases and loss of
capacitance means lack of bass response.

This is surely something we can agree is NOT desirable in any piece of audio
equipment,

To me personally if this is the case then things are broken and needs to be
repaired.

The lifeless thin character of a 40 year old Neumann U67 with its dried out
1 F/250V ellytic capacitor that couples the anode of the EF86 tube to the
output balancing tranformer is not something I think has anything to do with
nostalgic sound of any kind at all.

As a vintage tube mic restorer, having done over 500 tube mics over the past
40 years, I must say that the sound difference is simply astounding when
putting a 1F polypropylene capacitor in there, that will never ever wear
out, compared to the original dried out, faulty, ellytic capacitor.

Also any OLD vintage equipment with dried out ellytics and other worn parts,
tubes etc, was certainley NOT meant to sound the way they do today by the
maker 20 to 60 years after it was new.

>  It sounded fine to me. But then I asked to see the
> picture that went with that music. It was a period
> film (circa 1940) and the image showed a live band
> playing in a club. All of a sudden it sounded all
> wrong to me. It had been recorded with modern mics,
> and modern techniques, close micing on every instrument.

Sorry but no one of the general public will hear any difference at all.

They are simply completely ignorant of this sort of thing having no clue
whatsoever to this sort of difference nor do they care at all.

And over the telly no one, even the experts, will not hear any difference at
all.

The only thing that the viewer will react to is the picture and the music
will be the key points and if there is one mic or a zillion is of no concern
to Joe Smith in my experience.


-- 
Best regards,

Goran Finnberg
The Mastering Room AB
Goteborg
Sweden

E-mail: [log in to unmask]

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make them all yourself.    -   John Luther
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