Gallery
Rank the best codec according to you by listening to the source.
Each track will have a rating of 1-5 stars. Find out which track you think has the cleanest, clearest, most noise-free and most pleasant sound.
can you pick what track has been recorded with what
option 1: Reel to reel tape recorder
option 2: Cassetter recorder
option 3: Reel to Reel emulator
Finally a good cable plugin.
One without Fire The Cable
One with Fire The Cable Analog Vortex Emulation preset on all tracks.
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From gearspace.com/board/showpost.php?p=17216887&postcount=72
Arturia
KIIVE
MK609 Hardware
Neve 33609N
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From gearspace.com/board/showpost.php?p=17186677&postcount=63
(loudness normalization applied)
From user Slowburner1969 on Reddit
reddit.com/r/audioengineering/comments/1fiapdg/undertone_audio_releases_unfairchild_plugin/lng2iim/
(loudness normalized)
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Four analogue saturators on test.
Sine waves of various pitches driven into each module.
Which one sounds best to you?
Four essential analogue filters on test.
Test 4/4: LPF with resonance cranked up to near self-oscillation.
Which one sounds best to you?
Four essential analogue filters on test.
Test 3/4: LPF driven hard with no resonance.
Which one sounds best to you?
Four essential analogue filters on test.
Test 2/4: LPF with some resonance.
Which one sounds best to you?
Four essential analogue filters on test.
Test 1/4: LPF with no resonance.
Which one sounds best to you?
Note: these samples are NOT the same performance. All different. So you can't focus on the music or notes, just the tone and relative room sound and feel. Rank the samples in your order of preference. The setups are:
- Audio Technica AE5100 cardioid condensers in ORTF, 2' above and angled down
- Audio Technica AE5100 cardioid condensers on the floor (BLM), 2' away from the bottom pipes. Near coincident - approx 7" between capsules, 60 deg angle
- Audio Technica AE5100 cardioid condensers on the floor (BLM), 6' away from the bottom pipes. Near coincident - approx 7" between capsules, 60 deg angle
- Audio Technica 4022 omni condensers heads on the floor (BLM donut), 6' away from the bottom pipes. 20cm between capsules
- Audio Technica 4022 omni condensers heads on the floor (BLM donut), 2' away from the bottom pipes. 20cm between capsules
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Four different official versions of the song, found on YouTube and downloaded in 320 kbps MP3.
Original (7:58), Original (7:50), 2006 Remaster, 2024 Remix
Fano Alt De Facto JM6 w/ Lollar Imperial bridge -> Ibanez SM7 -> Boss RC-500
Boss RC500 -> Deluxe Reverb -> Speaker -> e906 -> RME Fireface 800
Tokai Silverstar 84' w/ Florance Voodoo pickups -> Maxon SD9 -> Boss RC-500
Boss C500 -> Deluxe Reverb -> Speaker -> e906 -> RME Fireface 800
Fender Telecaster w/ Suhr Classic T bridge, later neck -> Wampler Belle -> Boss RC-500
Boss RC-500 -> Deluxe Reverb -> Speaker -> e906 -> RME Fireface 800
Fano Alt De Facto JM6 w/ Lollar Imperial bridge -> JHS AT+ -> Boss RC-500
Boss RC500 -> Deluxe Reverb -> Speaker -> e906 -> RME Fireface 800
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Comparison of 5 turntables, recorded February 2017
Record: Beethoven - Symphony #4, IV. Allegro ma non troppo - Side 2, Track 2 - Pierre Monteux / London Symphony - RCA Victrola VICS-1102 (1965, late-1990s reissue) - purchased new in 1999, likely played 25 times or so.
01 - Amazon Grand Referenz (new)
12" Moerch DP-8 tonearm (new)
ZYX "Universe Premium" cartridge (new)
02 - Thorens TD124 MKI (Schopper restoration, Schopper NM inner & outer platters, Schopper idler, stock-style armboard & plinth)
Stax UA-7 tonearm (ca. late-1970s, stock headshell & cable)
Ortofon "Cadenza Bronze" cartridge (new)
03 - Thorens TD124 (same as 02)
Stax UA-7 tonearm (same as 02)
Ortofon "Quintet Bronze" cartridge (new)
04 - Bang & Olufsen TX2 (ca. mid-1980s)
B&O integrated linear servo tonearm
Sound-Smith "SMMC2" cartridge (new)
Terrafon 211 preamplifier and Sound Devices USBPre2 interface, tracked at 176.4KHz/24bit and resampled with SSRC to 96KHz/24bit. Gain and channel balance adjusted in analog domain.
Comparison of 4 turntables, recorded February 2017
Record: "À Chloris" (Reynaldo Hahn) - Side 1, Track 7 - Håkan Hagegård & Thomas Schuback - BIS LP-54 (1977) - purchased used in a thrift store in mid-2000s. Cleaned with KL Audio ultrasonic machine.
01 - Amazon Grand Referenz (new)
12" Moerch DP-8 tonearm (new)
ZYX "Universe Premium" cartridge (new)
02 - Thorens TD124 MKI (Schopper restoration, Schopper NM inner & outer platters, Schopper idler, stock-style armboard & plinth)
Stax UA-7 tonearm (ca. late-1970s, stock headshell & cable)
Ortofon "Cadenza Bronze" cartridge (new)
03 - Thorens TD124 (same as 02)
Stax UA-7 tonearm (same as 02)
Ortofon "Quintet Bronze" cartridge (new)
04 - Bang & Olufsen TX2 (ca. mid-1980s)
B&O integrated linear servo tonearm
Sound-Smith "SMMC2" cartridge (new)
Terrafon 211 preamplifier and Sound Devices USBPre2 interface, tracked at 176.4KHz/24bit and resampled with SSRC to 96KHz/24bit. Gain and channel balance adjusted in analog domain.
Comparison of 5 turntables, recorded February 2017
Record: "The Boy Who Wouldn't Hoe Corn", Track 2, Side 1 - Alison Krauss + Union Station / New Favorite - Diverse Records DIV001LP - purchased new in 2005, likely played 50 times or so. Cleaned with KL Audio ultrasonic machine.
01 - Amazon Grand Referenz (new)
12" Moerch DP-8 tonearm (new)
ZYX "Universe Premium" cartridge (new)
02 - Thorens TD124 MKI (Schopper restoration, Schopper NM inner & outer platters, Schopper idler, stock-style armboard & plinth)
Stax UA-7 tonearm (ca. late-1970s, stock headshell & cable)
Ortofon "Cadenza Bronze" cartridge (new)
03 - Thorens TD124 (same as 02)
Stax UA-7 tonearm (same as 02)
Ortofon "Quintet Bronze" cartridge (new)
04 - Bang & Olufsen TX2 (ca. mid-1980s)
B&O integrated linear servo tonearm
Sound-Smith "SMMC2" cartridge (new)
05 - Kronos "Pro" turntable (new)
André Thériault "Black Beauty" tonearm (new)
ZYX "Universe Premium" cartridge (same as 01)
Terrafon 211 preamplifier and Sound Devices USBPre2 interface, tracked at 176.4KHz/24bit and resampled with SSRC to 96KHz/24bit. Gain and channel balance adjusted in analog domain.
Comparison of 5 turntables, recorded February 2017
Record: "Waiting for Your Love", Track 4, Side 2 - Toto / Toto IV - Columbia FC37728 (1982) - purchased new in 1983. I was about 12 years old at the time, so it's had significant use and handling over the years including playback on questionable equipment. Cleaned with KL Audio ultrasonic machine after isopropyl pre-cleaning.
01 - Amazon Grand Referenz (new)
12" Moerch DP-8 tonearm (new)
ZYX "Universe Premium" cartridge (new)
02 - Thorens TD124 MKI (Schopper restoration, Schopper NM inner & outer platters, Schopper idler, stock-style armboard & plinth)
Stax UA-7 tonearm (ca. late-1970s, stock headshell & cable)
Ortofon "Cadenza Bronze" cartridge (new)
03 - Thorens TD124 (same as 02)
Stax UA-7 tonearm (same as 02)
Ortofon "Quintet Bronze" cartridge (new)
04 - Bang & Olufsen TX2 (ca. mid-1980s)
B&O integrated linear servo tonearm
Sound-Smith "SMMC2" cartridge (new)
05 - Kronos "Pro" turntable (new)
André Thériault "Black Beauty" tonearm (new)
ZYX "Universe Premium" cartridge (same as 01)
Terrafon 211 preamplifier and Sound Devices USBPre2 interface, tracked at 176.4KHz/24bit and resampled with SSRC to 96KHz/24bit. Gain and channel balance adjusted in analog domain
The samples are intended solely for non-commercial, educational use, to inform any audible differences between the two phono cartridges under test.
MM is Ortofon OM 5E. MC is Audio Technica 33PTG/II. Turntable is Thorens TD 165. Recorded at 44.1kHz/16 bit on MixPre 3-II.
From Benno Kaiser
youtube.com/watch?v=CKQ1hPzm8ZE
X-Y
A-B
M-S
ORTF
Recorderman
Glyn Johns
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i had my son blast one off into my iphone then i bluetoothed the file over to my imac and processed it in Reaper with crave EQ analog and kush q632.
which is which ?
From "Andrew Masters - The MOST RIDICULOUS Preamp Shootout"
youtube.com/watch?v=QAQMONH6ZmU
- API 3124V
- AEA RPQ3
- Warm Audio WA273
- Trident 68
Exported flat, peak normalized.
Siin saab kuulata 4 erinevat masterit, mis on tehtud täpselt samast mixist ja failist erinevate toonmeistrite poolt.
Kuula, võrdle ja soovi korral anna oma hinnang.
Kõigile vastajatele saadan soovi korral mailiga või Messengeris ka lugudega kokku viidud toonmeistrite nimed.
From "Produce Like A Pro - FIRST LOOK - WA-1B All-Tube Opto Compressor"
youtube.com/watch?v=x-MDJZHi1Ts
Stems from the downloadable tracks, only vocals.
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Both at a maximum of 1.9 dB GR as per Ziad's request.
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Reihenfolge Clips: Clean Notes Bridge/Mid/Neck ; Clean Strum Bridge/Mid ; Dirt Bridge/Mid/Neck
Alle Mics durch einen Neeve 1073. Beim MD 421N Vintage musste ich +15 dB pegeln, beim MD 441 und RB500 -5dB runter.
Fender Telecaster 50s Reissue an Fender Deluxe Reverb. Mics mid-cone direkt auf dem Grill.
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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.
Tracks:
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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使用sox重采样器将96K/24bit降为48K/16bit
ffmpeg -i Sample_BeeMoved_96kHz24bit.flac -f flac -resampler soxr -sample_fmt s16 -ar 48000 Sample_BeeMoved_48kHz16bit.flac
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pick your favourite
Excerpts 'A' and 'B' contain two mixdowns, one undertaken on an analogue mixing desk, and the second purely 'in-the-box'.
This test
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From: Making Records with Eric Valentine - What Can We Really Hear, When Comparing EQs PART 1?
youtube.com/watch?v=ZvS9qqmfiS0
This is a field recording I made of birds (2 Audio Technica 4022 mics into MixPre 3-II, 192kHz, 24 bit).
I heard Laura Sillanpaa of Sound Devices say that many engineers choose high sample rates because it sounds better when pitch shifted. I personally have never heard a difference between sample rates, but admittedly never tried with pitch shifted material.
1. The 192k recording was imported to Reaper to a 192k project.
2. Rendered to 44.1k file using r8brain resampler.
3. Still in the 192k project, the region was pitch shifted down to 25% of original speed, then exported from Reaper at 192kHz.
4. Close project
5. Create 44.1k project and import 44.1k file from step 2.
6. Pitch shift down to 25% of original speed, then exported from Reaper using native 44.1k.
No other processing was done to either file.
This is a field recording I made of birds (2 Audio Technica 4022 mics into MixPre 3-II, 192kHz, 24 bit).
I heard Laura Sillanpaa of Sound Devices say that many engineers choose high sample rates because it sounds better when pitch shifted. I personally have never heard a difference between sample rates, but admittedly never tried with pitch shifted material.
1. The 192k recording was imported to Reaper to a 192k project.
2. Rendered to 44.1k file using r8brain resampler.
3. Still in the 192k project, the region was pitch shifted down to 10% of original speed, then exported from Reaper at 192kHz.
4. Close project
5. Create 44.1k project and import 44.1k file from step 2.
6. Pitch shift down to 10% of original speed, then exported from Reaper using native 44.1k.
No other processing was done to either file.
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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
These are 10 snippets of one minutes of music that is (supposedly) mixed from tracks at the console (as opposed to a acoustic recording in a hall).
A. is original Stereo
B. is BRIR convoluted (dearVR Monitor Plugin EQed to flat with 1/1 octave smoothing
To use this Demo you need a pair of head- or earphones EQed to your liking. Have fun!
Can an AI-generated voice model effectively replace a human vocal performance in the recording studio? Listen to two contrasting original track and compare them to the versions where the vocals have been replaced by AI. You can rate the performance of each track.
This clip was remastered using remastera.com.
Tracks:
testing various clippers on an 808. Includes Dry, Kclip, Orange Clip, Acustica Ash, Tim P La2a Clipper (nebula), and Fab Filter Pro L used as a clipper.
Test running 4 different clippers:
Acustica Ash
K Clip
Abletons Glue Compressor
Orange Clip
Clipping around 7db or so.
Gain matched.
Tracks:
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.
-
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.