Re: [ARSCLIST] Aren't recordings original sources?

[Aaron Levinson <aaron.levinson@xxxxxxxxxxx>]

I do need to weigh in here with my two cents-to suggest as plain old 
Clark does below that a mastering studio is not a "listening" studio is 
simply wrong. That is precisely what a well-designed mastering facility 
is! They are in fact some of the most meticulous and carefully designed 
acoustical spaces ever built to facilitate critical listening. From the 
tuned room to the various speaker systems and amplification choices and 
playback machines all of those components are exactly what a top 
mastering engineer is known for, but most importantly it is his/her 
incredibly fine ears.

We are extremely lucky to have just such a person, named Bob Olhsson in 
our midst.

AA


Clark Johnsen wrote:
> On Fri, Oct 17, 2008 at 8:21 AM, Rob Poretti <r.poretti@xxxxxxxxxxxx> wrote:
>
>   
> > <SNIP>
> >
> > There being no evidence offered, I'll just have to note that on all
> > wide-range high-resolution audio systems I've ever heard, specialty power
> > cords have wrought major improvements. Granted that's just observational
> > data, but it's the only data so far.
> >
> > <SNIP>
> >
> > Hi Clarke,
> >     
>
>
> Jus' plain ol' Clark.
>
>   
> > In another life, I too have had the pleasure of working in some of the very
> > best mastering facilities in the world - Bernie Grundman, Gateway, Sterling
> > Sound, Mastermix, Georgetown, etc...  Many of these I've been to on
> > multiple
> > occasions and was involved in various listening tests... but not related to
> > AC cables.
> >     
>
>
> Nice company you keep. I mean it!
>
> Ever have occasion to speak to Stan Ricker? I'm sure he would back up
> everything I've said on this thread -- and probably go further!
>
> Ditto Steve Hoffmann.
>
>   
> > A few of these facilities use those $1000+ AC cables.  I did not have the
> > balls to ask them to swap to a standard cable for my own curiosity, but I
> > can tell you *none* of the mastering engineers described the differences as
> > "major improvements".
> >     
>
> Again, the studio environment... these are not listening studios, these are
> recording (or mastering) studios.
>
> Besides, I've never claimed that differences are instantly detectable.
> They're not, usually. They get to you over an extended period.
>
>
>   
> >  Do I understand by your comments that the "major
> > improvements" that you discerned did not require ABX listening tests?
> >     
>
>
> "Require"? As stated earlier, ABX only blurs the distinctions.
>
> Someone locally here once told me he'd done a DBT that proved to the 99%
> confidence level, that insertion of the ABX box was audible. I chuckled, as
> I might hope everyone would.
>
> Who elected the ABX box as our arbiter?
>
>
>   
> >   It
> > was easily audible?
> >     
>
>
> As I said, sometimes it was immediate, but sometimes not until the DUT's *
> removal*.
>
>   
> > Please elaborate...
> >     
>
>
> Hope that helps.
>
> clark
>
>   
> > _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/
> > Rob Poretti
> > Sales Engineer - Archiving
> > Cube-Tec North America
> > Vox.905.827.0741
> > Fax.905.901.9996
> > Cel.905-510.6785
> >
> > _/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/_/
> >
> >     
>
>