"soundhaspriority"
wrote in message

The points made here by working professionals are
informative, but must also be taken with a grain of salt.
Working professionals have invested large amounts of
money and faith in high priced equipment.

Which of course never affects points made here by audiophiles...

LOL!

Fact of the matter is that working pros are generally better-educated, more
experienced, and more pragmatic than audiophiles. For example, working pros
generally reject common audiophile urban myths like bi-wiring, upsampling,
so-called hi-rez distribution formats, very high sample rates, exotic cables
and wires, etc.

Fact of the matter is that working pros are generally better-educated,
more experienced, and more pragmatic than audiophiles. For example,
working pros generally reject common audiophile urban myths like
bi-wiring, upsampling, so-called hi-rez distribution formats, very high
sample rates, exotic cables and wires, etc.

Yeah, but there's a lot of guys in here that brag about their expensive mic
and preamp combos and make fun of other folks that use different gear.
Sometimes they even insult their intelligence or hearing when they disagree.
It's a little club, just like the audiophools. I've heard the same kind of
stupid **** coming from "working pros" as the **** coming from the
audiophile type people.

"Romeo Rondeau" said:


Fact of the matter is that working pros are generally better-educated,
more experienced, and more pragmatic than audiophiles. For example,
working pros generally reject common audiophile urban myths like
bi-wiring, upsampling, so-called hi-rez distribution formats, very high
sample rates, exotic cables and wires, etc.


Yeah, but there's a lot of guys in here that brag about their expensive mic
and preamp combos and make fun of other folks that use different gear.
Sometimes they even insult their intelligence or hearing when they disagree.
It's a little club, just like the audiophools. I've heard the same kind of
stupid **** coming from "working pros" as the **** coming from the
audiophile type people.


To be fair to Arny, he said "working pros in general".

However, each and every "metier" has its share of clowns, wannabees
and braggers.

--

- Never argue with idiots, they drag you down their level and beat you with experience. -

Yeah, but there's a lot of guys in here that brag about their expensive
mic
and preamp combos and make fun of other folks that use different gear.
Sometimes they even insult their intelligence or hearing when they
disagree.
It's a little club, just like the audiophools. I've heard the same kind of
stupid **** coming from "working pros" as the **** coming from the
audiophile type people.


To be fair to Arny, he said "working pros in general".

Oh, I'm not trying to criticize Arny, more like trying to point something
out.



However, each and every "metier" has its share of clowns, wannabees
and braggers.

So true.

"Sander deWaal" wrote in message
news
"Romeo Rondeau" said:

Fact of the matter is that working pros are generally
better-educated, more experienced, and more pragmatic
than audiophiles. For example, working pros generally
reject common audiophile urban myths like bi-wiring,
upsampling, so-called hi-rez distribution formats, very
high sample rates, exotic cables and wires, etc.

Yeah, but there's a lot of guys in here that brag about
their expensive mic and preamp combos and make fun of
other folks that use different gear.

A tiny list of exceptions does not disprove the rule.

Sometimes they even
insult their intelligence or hearing when they disagree.

More commonly, they insult the hearing or intelligence of whoever they
disagree with.

Interestingly enough many of these exceptions are like our local clown who
posts under the alias "Dr. Donothing" or something like that. He's quick to
insult the ears of the people he disagrees with and demand a first-rate
resume if one is to have any credibility. However, the "Dr. Donothing" types
generally post under unknown, untracable, unverifiable aliases. They are
apparently legends only in their own minds.

It's a little club, just like the audiophools. I've
heard the same kind of stupid **** coming from "working
pros" as the **** coming from the audiophile type
people.

Again this would be that sometime-noisy tiny minority.

To be fair to Arny, he said "working pros in general".

Exactly - not the exceptions, the general rule.

However, each and every "metier" has its share of clowns,
wannabees and braggers.

There are also some working pros who obviously cater to audiophile type
people. The audiophile market in the US is about 200,000 people. If you have
a recording that is way out of the mainstream, the idea of selling to say
10% of the audiophile market can look pretty good. You may not get your
recording mentioned in Rolling Stone, but there's always TAS and SP.

If you know anything about cross-marketing you then cater to the
audiophile's other biases - brag about your golden mic cable and other
tweaks. You can even set up a catalog where you sell both recordings and
the tweaks you say you used to make the recordings. Mapleshade, anybody?

"Romeo Rondeau" wrote in
. net:

Yeah, but there's a lot of guys in here that brag about their
expensive mic and preamp combos and make fun of other folks that use
different gear. Sometimes they even insult their intelligence or
hearing when they disagree. It's a little club, just like the
audiophools. I've heard the same kind of stupid **** coming from
"working pros" as the **** coming from the audiophile type people.

As one of the guys in here with expensive mics (relative to the topic,
at least) I can say that having come from the world of cheap mics, I
would only go back under duress.

My first electret condensers came from Olson's (yeah, I'm that old.).
Then I went through a whole series of whatever I could afford as a
high school and college student. I inherited an RCA 77D, followed by
a pair of AKG C451's. I then went Chinese with pairs of Rode NT-2's
(very early issue) and MXL V67's (later Dorsey modded).

My go to microphones now are Schoeps, DPA, and BLUE. I still have and
use the Rodes and MXL, but they only come out in unusual
circumstances, or when I just need more mics.

On the preamp side, I started with the built-in amplifiers of Pioneer
reel-to-reel recorders, moved up (yes, up) to an original Mackie 1604,
then to a 1202 VLZ, then to Great River and finally to CraneSong.
Nowhere along that path do I look back, although the jump from Great
River to Crane Song was more sideways.

In my experience, my more expensive microphones capture more sound. I
don't mean louder, I mean softer. They capture signal well below the
loudest level being captured, and do it better than cheaper
microphones. Off axis response is better. Noise levels are lower.

The preamps also create less noise and capture more of what the
microphone sends their way.

On the grand scale, I do not own expensive microhones. The most
expensive in my collection run $1,000 to $1,600 each. A U-87
currently runs about $2,220 and a U-89 is over $2,500. And those are
"standard" micophones.

There are jobs for which an inexpensive microphone is absolutely the
best solution, but there are more applications in which the right
expensive microphone will outperform it.

"Carey Carlan" wrote in message
...
"Romeo Rondeau" wrote in
. net:

Yeah, but there's a lot of guys in here that brag about their
expensive mic and preamp combos and make fun of other folks that use
different gear. Sometimes they even insult their intelligence or
hearing when they disagree. It's a little club, just like the
audiophools. I've heard the same kind of stupid **** coming from
"working pros" as the **** coming from the audiophile type people.

As one of the guys in here with expensive mics (relative to the topic,
at least) I can say that having come from the world of cheap mics, I
would only go back under duress.

My first electret condensers came from Olson's (yeah, I'm that old.).
Then I went through a whole series of whatever I could afford as a
high school and college student. I inherited an RCA 77D, followed by
a pair of AKG C451's. I then went Chinese with pairs of Rode NT-2's
(very early issue) and MXL V67's (later Dorsey modded).

My go to microphones now are Schoeps, DPA, and BLUE. I still have and
use the Rodes and MXL, but they only come out in unusual
circumstances, or when I just need more mics.

Your words are an appropriate note of caution. On the other hand, Chinese
mikes have been in a state of rapid evolution. Since 2001, there has been
rapid improvement. Your early Rodes, or your single MXL V67, are not enough
to draw conclusions from.