Some guys just go over the top ! Here's the picture gallery:
http://www.isomike.com/gallery/gallery.html

Here is the philosophy behind it (remember its for surround release)...and
no quibbles with the calibre of the recording gear in the chain ! :
http://www.isomike.com/iso2005b.html

Ray

"All recordings were made at a low enough level to assure that no
clipping occurred, therefore you may need to raise your volume control
more than when playing some commercially available CDs where the volume
has been normalized and/or compressed.

Since there is NO limiting, the dynamic range might surprise you, your
system or your pets. So be VERY cautious the first entire playing so as
to not damage amplifiers or speakers.

These tracks contain no gain changes or other such processing, so some
tracks will be at a softer or louder level than other tracks. However,
the dynamic range within a track is the same as the original live
performance."

this was part of the diadatic on said site, reminds me of "Trio Jeepy"

yes, similar to the cautions printed on early direct to disc LP records eg
Sheffield Labs...and the hype cautions surrounding the first CD releases,
and test discs also.
wrote in message
oups.com...

"All recordings were made at a low enough level to assure that no
clipping occurred, therefore you may need to raise your volume control
more than when playing some commercially available CDs where the volume
has been normalized and/or compressed.

Since there is NO limiting, the dynamic range might surprise you, your
system or your pets. So be VERY cautious the first entire playing so as
to not damage amplifiers or speakers.

These tracks contain no gain changes or other such processing, so some
tracks will be at a softer or louder level than other tracks. However,
the dynamic range within a track is the same as the original live
performance."

this was part of the diadatic on said site, reminds me of "Trio Jeepy"

"Ray Thomas" wrote ...
yes, similar to the cautions printed on early direct to
disc LP records eg Sheffield Labs...and the hype cautions
surrounding the first CD releases, and test discs also.

There is a significant difference between setting levels (and
making the other necessary REAL TIME adjustments) for a
couple of spinning disc lathes vs. digital recording where
level adjustments/"mastering" can be accomplished after the
fact with no loss of quality. I have far more respect for the
accomplishments of Doug Sax, et.al. than for anyone sitting
in front of any digital recorder today (myself included).

While there are likely significant acoustic phenomenon
happening here, this impresses me as "over the line" into
"tweako, audiophool" territory even without consdering
the primary business of the organization (botique cable).

These tracks contain no gain changes or other such processing, so some
tracks will be at a softer or louder level than other tracks.

In other words, the engineer is refusing to do his job.

However,
the dynamic range within a track is the same as the original live
performance."

Even though recorded playback is a significantly & distinctly different
set of circumstances than a live performance, & recording is a
different art form than a live performance, these keepers of the audio
fundamentalist faith wish to deny that fact by removing any human
intercession from the recording process & make it an entirely
mechanical exercise. Probably really great if you also like paintings
made by robots.

Scott Fraser

That's one crazy ass muther****in mic stand...



"Ray Thomas" wrote in message
...
Some guys just go over the top ! Here's the picture gallery:
http://www.isomike.com/gallery/gallery.html

Here is the philosophy behind it (remember its for surround release)...and
no quibbles with the calibre of the recording gear in the chain ! :
http://www.isomike.com/iso2005b.html

Ray

"Ray Thomas" wrote ...
Ok guys, lets give the (flawed) stated philosophy a
break now, and turn our attention to the PICTURE
GALLERY I sent a link to:
http://www.isomike.com/gallery/gallery.html

Yeah, many of us have/had already seen the pix, and
some of us have even commented on them. I've felt like
putting hard covers over upholstered audience seating
before, but it always seemed easier to find a more
suitable room. Any way you slice this, it is "extreme
audio". In the same genre as "extreme ______" (insert
your favorite pursuit).

A friend of mine lives in SLC and does that kind of
recording. Kimber lent him one of the big baffles to
try on a few gigs. But besides barely fitting in his little
Jap station wagon (even folded in half), rigging it into
the proper position was nearly impossible without
trippling the budget for location setup, etc. Seems of
little practical use even if the theory were beyond
dispute.

Yes, it looks both heavy and dangerous..that Kimber array ! All that
scaffolding above it too...makes one wonder whether you couldn't achieve
similar with blankets draped (or sewn) over air mattresses, or similar
lightweight (stand-mounted) baffles, and mics placed from the floor via tall
Manfrotto stands with boom arms if needed. Then again, Kimber's setup looks
'serious', and I don't want to belittle his earlier experiments !

Ray

"Richard Crowley" wrote in message
...
"Ray Thomas" wrote ...
Ok guys, lets give the (flawed) stated philosophy a break now, and turn
our attention to the PICTURE GALLERY I sent a link to:
http://www.isomike.com/gallery/gallery.html

Yeah, many of us have/had already seen the pix, and
some of us have even commented on them. I've felt like
putting hard covers over upholstered audience seating
before, but it always seemed easier to find a more
suitable room. Any way you slice this, it is "extreme
audio". In the same genre as "extreme ______" (insert
your favorite pursuit).

A friend of mine lives in SLC and does that kind of
recording. Kimber lent him one of the big baffles to
try on a few gigs. But besides barely fitting in his little
Jap station wagon (even folded in half), rigging it into
the proper position was nearly impossible without
trippling the budget for location setup, etc. Seems of
little practical use even if the theory were beyond
dispute.

"Ray Thomas" wrote in message

Some guys just go over the top ! Here's the picture
gallery: http://www.isomike.com/gallery/gallery.html

Here is the philosophy behind it (remember its for
surround release)...and no quibbles with the calibre of
the recording gear in the chain ! :
http://www.isomike.com/iso2005b.html

As I recall, they had an demo room at HE2005 which I visited. The recordings
weren't all that bad sounding. However, no angels flew out of the speakers
while I was there. ;-)

The barriers were said to be cut out of Corning 703 with a router. A very
messy process!

Ray Thomas wrote:
Some guys just go over the top ! Here's the picture gallery:
http://www.isomike.com/gallery/gallery.html

Here is the philosophy behind it (remember its for surround release)...and
no quibbles with the calibre of the recording gear in the chain ! :
http://www.isomike.com/iso2005b.html

Hey, the second link looks like something that has been often
discussed here, a dual layer CD/SACD disk containing the same
material, raw and unmastered, in both formats that could be used for
listening tests to determine audibility of the extra information
contained in DSD.

The only question as to its suitability would be how the DSD was
converted to PCM for the CD layer.


Bob
--

"Things should be described as simply as possible, but no simpler."

A. Einstein

"Bob Cain" wrote in message
...
Ray Thomas wrote:
Some guys just go over the top ! Here's the picture gallery:
http://www.isomike.com/gallery/gallery.html

Here is the philosophy behind it (remember its for surround
release)...and
no quibbles with the calibre of the recording gear in the chain ! :
http://www.isomike.com/iso2005b.html

Hey, the second link looks like something that has been often
discussed here, a dual layer CD/SACD disk containing the same
material, raw and unmastered, in both formats that could be used for
listening tests to determine audibility of the extra information
contained in DSD.

The only question as to its suitability would be how the DSD was
converted to PCM for the CD layer.

I happen to have that disk as well as an earlier one, as well as two earlier
two-channel disks downrezed to CD. Ray was kind enough to send them
following the 2005 New York show. I'll take a listen to two-channel CD and
SACD and comment further later this week..

My main interest was in hearing the multichannel...but through the first
test disk, a resonance in the midrange and a too-prominent bass messed
things up at times. But starting with test disk #2, he got a very nice
surround sound. So while I can endorse the sound, I managed to get a very
comparably good four channel sound on grand piano using four identical
cardioids, XY on the front pair and ORTF on the rear. I agree with earlier
comments that size would seem to prohibit this setup to all but the
best-funded projects. I'm not sure a Jecklin wouldn't do about as well, or
even a setup similar to the one I used in my test.

"Harry Lavo" wrote in message

"Bob Cain" wrote in message
...
Ray Thomas wrote:
Some guys just go over the top ! Here's the picture
gallery: http://www.isomike.com/gallery/gallery.html

Here is the philosophy behind it (remember its for
surround release)...and
no quibbles with the calibre of the recording gear in
the chain ! : http://www.isomike.com/iso2005b.html

Hey, the second link looks like something that has been
often discussed here, a dual layer CD/SACD disk
containing the same material, raw and unmastered, in
both formats that could be used for listening tests to
determine audibility of the extra information contained
in DSD. The only question as to its suitability would be how the
DSD was converted to PCM for the CD layer.

I happen to have that disk as well as an earlier one, as
well as two earlier two-channel disks downrezed to CD. Ray was kind enough
to send them following the 2005 New
York show. I'll take a listen to two-channel CD and
SACD and comment further later this week..

Trust me, the SACD layer will sound different from the CD layer for Harry.

Two words: sighted evaluation.