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Posts posted by greenmachine

  1. Actually, the only two perfectly sounding MJ Epic albums were "Off The Wall" and "Thriller" (especially if you get their 1st Japanese issues with pre-emphasis). "Bad" is a bit compressed (though in no way to the extent modern CDs are), "Dangerous" is overcompressed to death, "HIStory" even more, and later stuff is simply unlistenable (including Special Editions of his earlier albums and "Thriller 25").

    The original Dangerous is actually quite dynamic. The 2001 remastered version is about 6dB louder, but still listenable.

  2. Unless from a very close distance, recording a church organ should be possible without distortion without external attenuation in most cases, even with highly sensitive mics. Just set the manual levels relatively low somewhere in the 10-20 of 30 range (lo sens setting). If it still distorts at 10/30, it must be an exceptionally loud organ. No comparison to rock concert levels.

  3. Just to emphasize that it's not the missing frequencies above 16kHz or so that makes the sound dull - these frequencies are just the sparkling high end - the tip of the iceberg - many people can't even hear them, thus they're often omitted by lossy codecs. What makes it sound dull is the constant drop in amplitude towards higher frequencies from about 200Hz onwards.

    For demonstration here's a graph from the sample (red) compared to the original 1978 studio recording of the song:


  4. The SP mic is more sensitive than the Sony, so both signal and noise levels will be higher. What you're looking for is the signal to noise ratio (SNR). Try using a the low sensitivity setting and a lower manual level setting than with the Sony to compensate for the higher sensitivity.

    Using an attenuator in the signal path will negatively influence the SNR, it's only necessary for recording loud sounds.

    The "Binaurals" have an omnidirectional pickup characteristic as opposed to the Sony's directional one, so this may have an influence on the SNR for sounds coming from a certain direction (speech, etc.). To compensate, move the mic closer to the source.

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