Jim Alfredson

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Posts posted by Jim Alfredson


  1. The reason to use dither is to mask certain harmonics that may appear due to digital processing. Essentially what you are doing is raising the noise floor. The noise floor is the point at which the signal becomes indistinguishable from the background noise. The reason to do this is to mask the artifacts from converting a higher bit depth to a lower bit depth, like from 24bit to 16bit CD. Such conversions cause quantization errors which appear as harmonics. The dither masks those.

    So if you're digitizing analog sources into your computer, you don't need dither. 

    A good and easily understandable guide is here: http://downloads.izotope.com/guides/izotope-dithering-with-ozone.pdf


  2. On 9/8/2016 at 4:26 PM, JSngry said:

    I've probably yet to hear a truly perfectly accurate recording of anything, and, really, some records, if they were truly perfectly accurate of how they sound while being made, you would not want to hear that, cats in booths and behind baffles and shit, showing up one year to add to something from last year. Thank god for the assembly of an inaccurate finished product there, analog or digital! 

    You're conflating the act of capturing the source with the presentation of the final product to the listener. What RVG is talking about is the presentation of his finished recording to the consumer. In other words, he made certain aesthetic decisions for whatever reasons (including the wonky piano and wacky reverb) and he wants the listener to experience those decisions on the final master as close as possible to the way he intended. It's like a photograph of a painting. You want the photograph to accurately capture the colors and texture of the original as closely as possible.

    Therefor what he is saying is that linear digital is a much better medium for that than analog, specifically vinyl. In order to cut the vinyl, you have to make substantial concessions to your lovingly created master in the vinyl mastering process. And even then the final product deviates from the master further due to the quality of the pressing and also each time the vinyl is played (adding more surface noise and pops and clicks).

    On 9/9/2016 at 8:59 AM, AllenLowe said:

    my caveat, however, (and it is significant) is that analog has a depth of field which digital is incapable of replicating

    Sorry but this simply isn't true.

    On 9/9/2016 at 8:59 AM, AllenLowe said:

    and by the way this is complete bullshit and technically incorrect:  "linear digi­tal has no attributes. It's just a medium for storage. It's what you do with it. A lot of this has to do with the writing in consumer magazines. They've got to talk about some­thing.

    and a little shocking than any engineer would even think this. If it's all the same and has no attributes than 8 bit digital would equal 16 bit would equal 24 bit; and all converters would sound the same. They don't and they don't.

    I'm pretty sure he's referring to the CD standard here, 16bit 44.1kHz, which is more than enough for the final mastered product. 

    On 9/9/2016 at 8:59 AM, AllenLowe said:

    I do agree that, at 24 bits, digital has finally found a way to match analog in basic sonic warmth and appeal.

    I do not. 24bits is pointless for the final product. 16bits is more than enough. The increase of bit depth has nothing to do with warmth.


  3. Best quote:

     

    What are your feelings on digital versus analog?

     
    The linear storage of digital information is idealized. It can be perfect. It can never be perfect in analog because you cannot repro­duce the varying voltages through the dif­ferent translations from one medium to an­other. You go from sound to a microphone to a stylus cutting a groove. Then you have to play that back from another stylus wig­gling in a groove, and then translate it back to voltage.

     
    The biggest distorter is the LP it­self. I've made thousands of LP masters. I used to make 17 a day, with two lathes go­ing simultaneously, and I'm glad to see the LP go. As far as I'm concerned, good rid­dance. It was a constant battle to try to make that music sound the way it should. It was never any good. And if people don't like what they hear in digital, they should blame the engineer who did it. Blame the mastering house. Blame the mixing engi­neer. That's why some digital recordings sound terrible, and I'm not denying that they do, but don't blame the medium.

     
    A lot of people argue that digital is a cold­er, sterile sound. Where do you think that comes from?

     
    Where does it come from? The engineers. You've noticed they've attributed the sound to the medium. They say digital is cold, so they've given it an attribute, but linear digi­tal has no attributes. It's just a medium for storage. It's what you do with it. A lot of this has to do with the writing in consumer magazines. They've got to talk about some­thing.

     

    http://jazzprofiles.blogspot.com/2011/05/rudy-van-gelder-signature-sound.html


  4. The forum used to have a special "trash forum" where deleted posts and threads would go, but the software developers took that out. I asked if there was any way it could be re-implemented and they said no.

    The thing to do for the time being is to let me know AS SOON AS IT HAPPENS and I can have the database restored from a backup. We may lose a few posts, but that's better than an entire thread. After two days, it is too late.


  5. On 5/18/2016 at 1:43 PM, fasstrack said:

    It's doing weird things. Takes forever to load, for one. Then it leaves out part of the text and links of the post being quoted. Is this just me?

    Yep.


  6. I use 808 000 000. Some folks like to put a bit of the second drawbar in there, like 828 000 000.

    To change how patches affect the lower manual when you select a new preset, go to the PATCH submenu and turn OFF the L/P parameter (Lower Preset). This is a global setting so once you change it, it stays that way... no saving required. For more information on what loads with each patch/preset, check out the PATCH LOAD section in the SK user manual, page 76.


  7. Resonance Records strikes again.

    http://www.sunnykilogram.com/projects/dd/bill-evans/email.html

    album-cover.jpg

    " DELUXE 2-CD SET AND DIGITAL EDITION AVAILABLE APRIL 22, 2016

    SPECIAL LIMITED EDITION HAND-NUMBERED 2-LP SET MASTERED BY BERNIE GRUNDMAN AND PRESSED ON 180-GRAM VINYL BY RECORD TECHNOLOGY, INC. AVAILABLE SATURDAY APRIL 16, 2016 FOR RECORD STORE DAY

    NEVER-BEFORE-RELEASED 1968 STUDIO ALBUM BY LEGENDARY PIANIST BILL EVANS IN TRIO, DUO AND SOLO SETTINGS WITH JAZZ GREATS EDDIE GOMEZ AND JACK DEJOHNETTE

    RECORDED BY HANS GEORG BRUNNER-SCHWER AND JOACHIM-ERNST BERENDT AT MPS STUDIOS, VILLINGEN, GERMANY IN THE BLACK FOREST


    Unique studio recording made on June 20, 1968, five days after the Bill Evans Trio’s triumphant performance at the Montreux Jazz Festival

    Only the second album — and the only studio album — to feature the Bill Evans Trio with brilliant drummer, Jack DeJohnette, and great bassist and Evans Trio veteran, Eddie Gomez
     ."


  8. Finally listening to this. I need to go to bed soon but I wanted to at least listen to the first couple of tunes. The chord structure on "Trane of Thought" reminds me of "Beyond All Limits" off Unity. The sound is quite good although the organ is (as expected) a bit too far in the background. So far there is a lot of inspired playing on this, though. Shaw is exceptional. Nathan Davis sounds great, too. I admit I'd never heard him before.

    It's interesting to know that the song "Zoltan" was named after the composer Zoltán Kodály (another name I was unfamiliar with). The liner notes are a treat. 


  9. It's like 10.5 ¢ per tune per disc if it's under 7 minutes, I think. Over that, you have to pay another 2 ¢  per minute (which is stupid, especially on a jazz record where you only play the actual melody (the part that is copyrighted) for maybe 30 seconds).

    Anyway, for a 10 song CD, it will average to around $1.10  per disc.