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Re: Recorded with mkh 30/30 and Marantz 661 is this cliping.

Subject: Re: Recorded with mkh 30/30 and Marantz 661 is this cliping.
From: "freitojos" freitojos
Date: Thu Jun 27, 2013 1:53 pm ((PDT))
Here is another with mkh30/30 coincident blumlein as the last and with anot=
he preamp Apogee mini mp and mytek 176 adc converter in the Marantz spdif i=
nput, gain 60 db and more 3db in the same place.
    I would like to know wich bird makes the repetitive sound after 10 minu=
tes, does anyone know this strange call?

https://soundcloud.com/freitojos/t0700z-strange-call-and-bird

    the localization is:

https://maps.google.pt/maps?daddr=3D38.102841,-8.567491&hl=3Dpt-PT&sll=3D38=
.103275,-8.567362&sspn=3D0.002571,0.004823&t=3Dh&mra=3Dmift&mrsp=3D1&sz=3D1=
8&z=3D18

Regards,
Jos=E9
--- In   wrote:
>
> It is interesting how you get different aspects pointed out from differen=
t
> listeners.
>
> What I heard was enharmonic distortion (but not a lot) and I confirmed th=
is
> by listening at quarter speed and 1/16 speed, with audiograms and with an=
d
> without frequency filtering. Enharmonic distortion is at frequencies not=

> related to the original signal and is much more audible at low levels tha=
n
> harmonic distortion. On a single note, several percent of harmonic
> distortion is often inaudible. What we complain about is enharmonic
> distortion when less than 1% can be unpleasant.
>
> The peak distortion near the end is slight and in practice inaudible as i=
t
> appears to be less than 1dB overload. When this happened, (before or afte=
r
> digitisation) I don't know, but with many recorders, levels like this
> trigger an automatic volume control giving a "hole" after the peak which =
 is
> a much more audible defect than a simple peak distortion.
>
> The answer, as ever, is to record low. I would advise aiming at peaks com=
ing
> in at -10dB or -12dB below 100%. We are long past the era when you have t=
o
> cram everything on as high as possible to overcome tape hiss, but the hab=
it
> sometimes lingers on. Plenty of headroom is essential with nature recordi=
ng
> where peaks cannot be predicted. Out of doors, natural noise will almost=

> always swamp out any digital noise you will hear after lifting the playba=
ck
> level to peak to -3dB or -6dB.
>
> Note about Blumlein recording (and ORTF etc). Any rig using spaced mics w=
ill
> introduce phase shifts between left and right. This sometimes enhances th=
e
> stereo effect on headphones, but with open speakers, the image you hear i=
s
> very dependant on the room acoustics. The is why most studio mixes use le=
vel
> stereo using pan pots rather than phase stereo to give a more predictable=

> stereo image.
>
> David Brinicombe
>







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