while everyone orgasms over the sound of this thing and upsampled 20 year old pcm recordings, it totally sucks for the rest of us mere mortals. you guys may want to start your own board or something.
But you see this is the really exciting thing...
It's "doable" in much lesser systems!!! It IS a seriously logarithmic progression.
On a recording that was made on my rig 481->WarmModPlus UA-5 (X/Y 110deg 12') being played back on my comparatively wimpy system, Onkyo DV-S501->STR-DA3000ES->Tao Research MONITOR's with a pair of 12" passive subs utilizing an internal crossover... I can get close to the same effect! The difference is that the listening is NOT effortless. In order to get "there" you have to relax, close your eyes, turn off the lights, and really take the time to sink in and let your brain adjust. The size of the soundstage is not as expansive, I get most of the front half of the "sphere" with minor anomalies depending on how well I did setting up the mics or picking the spot in the venue, and the absolute detail is not as clear, a touch of spittle on the front end of claps and not quite as natural a decay. It's funny on the Panic recording I get a great open feel to the sphere with a little extra in the upper left quadrant like a small tube-like bubble where there is more stage sound. On the other system it is easier to tell that the center of the venue just happens to be a little to the right, the bubble on bubble effect is gone. On the big rig the individual claps are perfectly clear an you can place where they are on the risers or on the floor, the depth of field is just amazing. I caught myself getting a bit confused by my eyes telling me that I was in a 20X30 Room with a 10' Ceiling but my ears were listening to the sound echoing in the rafters of an arena. Letting youself experience both fully is a nifty trip in itself.
This technology will "Trickle Down" and become available to anyone that can hear and takes the time to set up a decent system, tune it, place it, and learn how to listen. It's already rediculous how well PCM recordings sound on a $700 Receiver!~ As we up the processing power of digital systems the type of upsampling that is occuring in the DCC2 will become more readily available and cheaper by far.
It now clear that the gear we are currently using (and have been) has the capacity to make recordings that we will be amazed by down the road as this begins to become more commonplace technology. I'm curious to see if the taping styles change as it does take place. I would guess that many tapes are judged prmarily on thier "clarity" and tonality and less on thier ability to create a soundstage. The thing is, it is that ability that makes audience recording so very special. It's hard with all of the variables of concert recording to get it right but the great thing is there are so many of us out there trying to make it happen that our odds are ever increased. When it's done just right it really is amazing what we can accomplish with all of this technology on which we all spend so much time, energy, and love.
{Later Edit} All of that being said however there really is no substitute for big Amps on Big Speakers when you're trying to reproduce Phil or Dave...
Topic: Tascam DV-RA1000 DVD Recorder Surprise (Read 69669 times)