greenmachine

I doubt you'll need a preamp for such exceptionally loud events, keep recording directly to line-in for such situations. BTW, did you ever use an editor yet, which one?

[cynicism]...and don't educate yourself to get a basic understanding but rather rely on and buy from the 'pro's'[/cynicism] The only method i can think of at the moment to achieve this would be to use a dynamics compressor (limiter), which can make the car's sound pretty unnatural since it tries to lower the peak levels (much like Sony's AGC), but try for yourself. Propably it's just a matter of the right settings...

Thank you for opening my eyes, if i underdstand you correctly, what you're basically saying is 'f@#k all that technical blather, just record anything what could be of interest, whether it'll sound good or not'. Strange to hear that from a businessman...

To keep people from 'special sound improvements, enhancements' or whatever they call it - without a basic understanding what they are doing they are damaging the sound more than improving it. In his case it would have helped a lot to separate the mics more than one inch instead of messing with the phase. And if there's more bass at a different position in the room, there simply IS more bass on one channel (assuming to use the same kind of microphone for each channel).

It's hopeless, i give up.

All of the things you mentioned have a significant effect on the sound. Could you upload a sample? I still have only a vague image of how your recordings could sound.

Could you describe what's wrong with the sound-quality of your live recordings? Did they suffer from distortion?

Yes, all these effects are helpful if you record each instrument on a separate channel and mix them together in the end, but for 2 channel live recording you usually try to capture the sound 'as heard', so it's wiser to get some good, neutral sounding hardware and be able to understand and work with room accoustics and you most likely will be pleased with the results at once without equalizing or other quirks.

http://art.simon.tripod.com/stealth.html

I'm not a Sonicstage / HiMD user, so could you please explain what you mean with 'fake sp'?

-44 dB +/- 5 dB sensitivity, that means in the worst case you have 10 dB volume difference between the channels... Maybe you could ask him for a closely matched pair...

No specific one, but the web is full of information, google can your best friend sometimes: http://www.google.de/search?num=100&hl=en&...o+editing+guide http://www.google.de/search?num=100&hl=en&...diting+tutorial http://www.google.de/search?num=100&hl=en&q=mastering+guide http://www.google.de/search?num=100&hl=en&...tering+tutorial http://www.replaygain.org/ This technique is called normalizing. I use it for whole shows. If you divide it into several tracks, it's a different story. For two channel live recording, I'd say at least 90% of the sound quality depends on the microphones and their placement. The processing is just some kind of 'fine-tuning'.

I'd really like to see abx results from those who think they can hear a difference...

You can easily get rid of your biased-ness by doing a 'blind' abx test (see topic description). Don't let your eyes mislead your hearing.

I know what you're talking about, i had the same picture, but I nevertheless didn't succed with the abx tool, you should definitely try it.

Since the max. SPL is nowhere to be found in the specifications, it would be good to ask the company owner himself.

I assume you're talking about low sensitivity mic in mode, right? Hard to say what level to use. What kind of microphones do you use or rather what's their sensitivity? What kind of concerts are you going to listen to? How close will you be to the stage? For loud shows you may need to set the level even lower.

okay, no need to raise your voice

You shouldn't plan to use a certain manual level since you propably don't know how loud the concerts are going to be. But you can use this setting as an orientation and start the adjustment from there.

There are different microphones for different purposes, a 'do-it-all' has to be invented yet. It would be quite helpful if you could provide some details about for what purpose you want to use them, for rather loud or quiet sounds, outside or indoors, should they pick up the sound directional, and so on...

Are you shy? You're pretty often hiding behind a mask for no obvious reason. Or are you planning to go shopping with a mask and a revolver?

Anyone who wants to know the answer, just write me a personal message, it's too early to make it publicly available yet.

A direct link: http://www.maplin.co.uk/Module.aspx?Module...ldID=6&doy=17m4 The respective discussion: http://forums.minidisc.org/index.php?showtopic=9558

I appreciate very much that you point this out every time, people need to get aware of that simple fact, there are too many flat, almost monophonic sounding recordings with stereo mics around which could have been improved easily by separation.

Looks (and sounds) much better now, but i'd still like to know if the resonance comes from the microphones, it's really annoying... The drop at slightly above 19 kHz is intentionally caused by the mp3 encoder and should not be audible anymore, the mics would propably capture frequencies even beyond 20 kHz with a slight falloff.