Gallery
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I got a $28 Chinese U87 "clone" from Temu.com. I don't have a real U87, so I used my IK Multimedia ARC Mems mic emulation plugin to compare on an acoustic guitar. The mics were both aimed at the sound hole about two feet away. No other signal processing outside of the MicRoom plugin from IK that emulates the U87. Which one do you prefer?
The Samar Audio AL95 vs Monoprice LR100 ribbon mics were placed directly adjacent to each other with the same vertical and front-back placement. A pop filter was placed in front of the center area between them. The AL95 was powered by the ALactive mic boost and the LR100 is an active ribbon. Both had 48V phantom power from the Focusrite 18i8 interface. They were tracked in at -16dB and clip normalized to -6dB for export.
There is a single file for each mic that is not processed whatsoever.
There is also a single file for each mic where the track was resampled using a stock Ableton Live EQ8 with a HPF and ~3 dB high shelf as well as some cuts in the muddy region. The tracks were also run outboard through a St. Ives Windings L31267 transformer wired at 2.4k ohm:2.4k ohm.
Testing the sonic qualities and preference for files compressed by the Abyss P11 and Sonoris compressors along with original uncompressed track. Qualities to note, transperency, level of detail, hyped or un hyped high frequency, warmth, air, stereo image, energy, loudness and or any other qualities that you hear or feel.
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The position of the mics are directly under the bridge of the instrument - held in place by sponges and rubber bands. the capsules of the two microphones are approx. 1-2 cm apart and on the same height. The files are normalized to -24 dB LUFS.
This test is intended to hear the different proximity effects caused by different polar patterns. The Schoeps mic is used as a control since it is a true omni mic and the Sennheiser MKH-800 Twin consists of 2 cardiod capsules.
Have fun!
I positioned the mics as near to each other as possible, pointing straight down over the snare drum. The first part is just a brief drum beat on its own. The second part has guitar playing in the room, because I do track live bands and also wanted to check the bleed / off axis rejection between the two. There is no processing on the tracks except IK Stealth Limiter adding 6db.
There are three tracks:
Dry Vocals
UAD Capital Chambers (The One preset)
Stock Ableton IR (BM7 Old Chamber, with increased decay, and high and low frequency damping)
See if the Capital Chambers lives up to the hype! (and the price)
The track is a eSoreni - In the City
There are three tracks:
Dry Tracks (vocals, piano, drums, upright bass)
UAD Capital Chambers (The One preset)
Stock Ableton IR (BM7 Old Chamber, with increased decay, and high and low frequency damping)
See if the Capital Chambers lives up to the hype! (and the price)
The track is a eSoreni - In the City
There are three tracks:
Dry Guitar
UAD Capital Chambers (The One preset)
Stock Ableton IR (BM7 Old Chamber, with increased decay, and high and low frequency damping)
See if the Capital Chambers lives up to the hype! (and the price)
The track is a midi rendition of a finger picking guitar song by GW Pierce.
Vocal Mic Test
5 different condenser microphones.
Rate the best.
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這次有五個檔案，有四個分別加入的不同程度的失真跟一個原始檔案，來測試看看自己聽不聽得出來？
您可以聽出有損壓縮跟無損壓縮的差異嗎？來測測看！
這次檔案有三個，64KBps/256KBps/FLAC，來測試看看吧！
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was used original 1st pres CDs then uploaded to youtube then downloaded from youtube
Identify which track “X” is a copy of, for multiple rounds.
This test is comprised of three excerpts of a song
- One track is encoded as a mp3 at 128kbps
- One track is encoded as flac
For demo purposes this test has only three rounds. For a statistically significant result ten rounds are usually recommanded.
Learn more about ABX tests
M2E explains: I overdid the compression on purpose to get the tone of each compressor and bring it out . Pular Modular wanted to hear what I meant by getting the compressor to give that suction-style compression which I always relate to SSL-style compression. It's like it uses upward compression then uses downward compression to tame it so you get the audio coming up to the downward compression and that's how you achieve a louder in-your-face smack but I wanted to push it a little more.
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Abyss preset tuned by ear. The breathing like or sucking-like effect in this track felt the need to engage the clipper in ABYSS (up to 2dB). It created that aggressiveness "hit the wall" but with the "suction cup" effect. I did a second version, with less clipping (1dB) to match the RMS of the original while still keeping the smack and aggression.
It is important to remember that Abyss is an RMS and not peak compressor, as such, and especially on full mix material, it uses different range of values for Attack and Release but delivers similar results to the Peak compressor.
M2E explains: I overdid the compression on purpose to get the tone of each compressor and bring it out . Pular Modular wanted to hear what I meant by getting the compressor to give that suction-style compression which I always relate to SSL-style compression. It's like it uses upward compression then uses downward compression to tame it so you get the audio coming up to the downward compression and that's how you achieve a louder in-your-face smack but I wanted to push it a little more.
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Here, again, I tuned Abyss by ear. It is important to remember that Abyss is an RMS and not peak compressor, as such, on full mix material, it uses different range of values for Attack and Release but deliver similar results to the Peak compressor. Abyss track has no limiter or clipper and around 0.5 dB peak LESS than the hardware reference.