[Frank Stearns]

"Gary Eickmeier" writes:

George Graves wrote:

snips

audition some Wilson WAMMs. We both thought they were pretty harsh and
forward sounding.

Indeed. Not only harsh, but weird higher mid resonances, making for a very plastic-y
sound, somewhat akin to typical headphones. I've never understood how various
wilsons (a) commanded the price they typically did and (b) had any kind of
following. Just shows that many so-called audiophiles really aren't clued into sonic
purity, but rather something else -- some kind of arty cabinet design, high-gloss
lacquer, or boasting rights as to how much money they spent. Sound is secondary.

This dealer liked to darken the room to listen, which was
very annoying to me. I like to SEE my imaging, where the individual
instrumental images are in relation to the speaker boxes.

Yikes! Yikes! Yikes!

Human vision, which commands a great deal of brain energy and processing (some 25%
IIRC), can often override/skew/compensate other sensory input. Worse, because you're
not at a live performance but instead listening in a room, you're often primed for
visual imagination.

Is there imaging ambiguity due to room problems? If it's not terrible but simply
mediocre (like many rooms), take a peek. Imagine a spot where you think something
should be -- a "best fit" based on what you imagine you "see" -- then let the visual
cortex "lock it in." The bottom-line truth being told by your ears has just been
overriden.

By far the most pure, most representative brain audio processing you're going to get
is to occasionally disable that big wetware signal processing hog, vision, and let
the aural processing take center stage.

(I prefer eye-closing to room light removal. Eye-closing signals the visual centers
that I intentionally initiated this momentary visual rest, and that visual
processing need not scramble to find input.)

When mixing, I'll be sure to take a few check listens with the "eyes off." I'll even
do this at concerts when simply listening as an audience member. There can be a more
complete connection to the sonic experience, on many levels, without distractions.

That's for classical/pure acoustic music. Pop/rock is a different story, where other
things need to supplement the sometimes thin nature of the work. So we have 130 dB
levels, lots of flashing and colored light, gyrations on stage, etc. (Not my
interest, but hey, to each his own.)

YMMV.

Frank
Mobile Audio
--

[Gary Eickmeier]

Frank Stearns wrote:
"Gary Eickmeier" writes:

George Graves wrote:

snips

audition some Wilson WAMMs. We both thought they were pretty harsh
and forward sounding.

Indeed. Not only harsh, but weird higher mid resonances, making for a
very plastic-y sound, somewhat akin to typical headphones. I've never
understood how various wilsons (a) commanded the price they typically
did and (b) had any kind of following. Just shows that many so-called
audiophiles really aren't clued into sonic purity, but rather
something else -- some kind of arty cabinet design, high-gloss
lacquer, or boasting rights as to how much money they spent. Sound is
secondary.

It's a spatial thing. The WAMMs sock their hot breath sound straight at you
with the ferocity of a fire breathing dragon, have no spatial qualities at
all. Most speaker designers are clueless about all this.


This dealer liked to darken the room to listen, which was
very annoying to me. I like to SEE my imaging, where the individual
instrumental images are in relation to the speaker boxes.

Yikes! Yikes! Yikes!

Human vision, which commands a great deal of brain energy and
processing (some 25% IIRC), can often override/skew/compensate other
sensory input. Worse, because you're not at a live performance but
instead listening in a room, you're often primed for visual
imagination.

Is there imaging ambiguity due to room problems? If it's not terrible
but simply mediocre (like many rooms), take a peek. Imagine a spot
where you think something should be -- a "best fit" based on what you
imagine you "see" -- then let the visual cortex "lock it in." The
bottom-line truth being told by your ears has just been overriden.

By far the most pure, most representative brain audio processing
you're going to get is to occasionally disable that big wetware
signal processing hog, vision, and let the aural processing take
center stage.

(I prefer eye-closing to room light removal. Eye-closing signals the
visual centers that I intentionally initiated this momentary visual
rest, and that visual processing need not scramble to find input.)

When mixing, I'll be sure to take a few check listens with the "eyes
off." I'll even do this at concerts when simply listening as an
audience member. There can be a more complete connection to the sonic
experience, on many levels, without distractions.

That's for classical/pure acoustic music. Pop/rock is a different
story, where other things need to supplement the sometimes thin
nature of the work. So we have 130 dB levels, lots of flashing and
colored light, gyrations on stage, etc. (Not my interest, but hey, to
each his own.)

YMMV.

It's just an observation I have made over many many years. It is very useful
to see if you can place individual images relative to the speakers because
that gives an enormous correlation between imaging and the physical
characteristics of the setup in front of you. The "Big Three" of this
audibility are radiation pattern, speaker positioning, and room acoustics.
Observe these factors next time and notice where things image. In my system
with the tight recordings of the instruments, the Big Three can place
individual auditory events at points in space in my room, and I can almost
"see" those players standing there in my room, not coming from either
speaker. In total, I can get imaging all across the front of my room, not
just speaker to speaker. If speakers are mis-positioned, you can get
stretched soloists or a hole in the middle, effects you can experience if
you can see the arrangement of speakers and walls and you try and "find the
piano" if you know what I mean.

And I know you do.

Gary

[hank alrich]

Gary Eickmeier wrote:

full studio in a box!

And you are a clueless sucker overwhelmed by marketing-speak.

Pray tell how much experience you have in any "full studio"? HTF would
you know?

--
shut up and play your guitar * HankAlrich.Com
HankandShaidriMusic.Com
YouTube.Com/WalkinayMusic

[Gary Eickmeier]

hank alrich wrote:
Gary Eickmeier wrote:

full studio in a box!

And you are a clueless sucker overwhelmed by marketing-speak.

Pray tell how much experience you have in any "full studio"? HTF would
you know?

"Please sir Mr. Fagin, I want some more..."

[Tobiah]

On 09/28/2013 03:58 PM, Gary Eickmeier wrote:
Check this out:

https://www.zoom-na.com/

The most amazing recorder I have yet seen. I could get rid of my mixer,
multichannel recorder (Zoom R16) and my battery powered Phantom power
supply. It is a six channel recorder and full studio in a box!

Gary Eickmeier


Now that you have the unit, can you put some of this
into perspective now that you have had some limited experience
with it?

Tobiah

[Gary Eickmeier]

"Tobiah" wrote in message
...
On 09/28/2013 03:58 PM, Gary Eickmeier wrote:
Check this out:

https://www.zoom-na.com/

The most amazing recorder I have yet seen. I could get rid of my mixer,
multichannel recorder (Zoom R16) and my battery powered Phantom power
supply. It is a six channel recorder and full studio in a box!

Gary Eickmeier


Now that you have the unit, can you put some of this
into perspective now that you have had some limited experience
with it?

Tobiah

Tobiah - I think I lost the Email on which I described the features etc to
you. Might have it at work, but could you re-post that here from your
computer? Then I would like to go further into it in another thread because
this one is getting out of control.

Gary

[Tobiah]

Tobiah - I think I lost the Email on which I described the features etc to
you. Might have it at work, but could you re-post that here from your
computer?

Here is you letter:

Hi Tobiah -

This thing is amazing! The cleverest piece of industrial design and engineering I have seen in a long time. The ergonomics, the
features, the specs all top notch. I would have to go thru the manual to remember all of them, but let me just relate some of my
surprises off the top.

It doesn't have just "meters," which was my biggest complaint on the R16 (the four element meters) - it has a small, full color
monitor that all of the functions are manipulated on. It can actually change the digital meters to analog needles display! You can
set all parameters about all six channels individually, such as monioring mix or output mix, the panning. levels, all of the
parameters that you would set in a mixer before taking a 2 channel mixdown straight out of the recorder. You also want to set these
parameters while recording so that you can tell that the channelization is correct etc. Like the H2n, it can record MS stereo with
settings for the mix between M and S, and also RAW. But in the RAW mode, you can make the H6 do the mix for you and specify the MS
parameters right in the recorder and vary it as desired! I believe in the past we have had to get an external box to mix MS or
concoct our own or do it manually on the computer as I did. The XY capsule can be set to 90 or 120 degrees.

I believe the specs are much better than all previous models, like it says 120dB noise figures, which I don't care if they are off
by 20 I don't think I have an environment quiet enough to record in that anyone could tell.

You can do overdubs, it has the -12 dB safety track, it has an adjustable compressor and/or limiter, some degree of EQ for low cut.
All of these sophisticated digital recorder and mixer console features in a box no bigger than a VHS cassette and get this - it has
a function that can check the error rate on your SDHC memory card! You start it with the record button, it slowly reads the whole
card and checks it for errors so you won't lose an important session.

I am going to try it out tonight with music. It is a lousy venue with an air conditioner from hell, but I will at least get some
practice using it. I will simply put up my mikes, hang some cables down to the recorder, and plug them in with no need for any other
interfaces. I will record two tracks in stereo with the internal mikes*, both the XY and MS, along with the 3 or 4 XLR inputs from
my good mikes. I will be able to monitor any and all tracks individually. I could pair two of the XLR inputs as a stereo track, but
I think I will be using my 3 mike technique again that I have had some really good results with.

I was going to wait until I had made a music recording to post something in the group, but thanks for showing an interest! If you
are at a buying decision I would say run don't walk

Please feel free to repost this to the group if you wish.

* Provided I bring a stand for the recorder to sit on

Gary

[[email protected]]

Zoom H6 hold permanently on.
Device inoperative. Switch seems fine.
Software bug?
Can anyone help?
Thanks,
Adrian Moore )

[Mike Rivers[_2_]]

On 9/22/2014 8:21 AM, wrote:
Zoom H6 hold permanently on.
Device inoperative. Switch seems fine.

I take it you can turn it on and off, it's just that when you turn it
on, the display shows that HOLD is on. It's possible that the switch is
making contact on the Power On/Off end but no on the Hold On/Off end.

Have you tried the universal fix suggestion of removing the batteries
for a day or so in hope that it will reset itself? While you're
waiting, try contacting your dealer or Zoom Tech Support. Your recorder
might be broken.

--
For a good time, visit http://mikeriversaudio.wordpress.com

[[email protected]]

On Saturday, September 28, 2013 at 5:58:43 PM UTC-5, Gary Eickmeier wrote:
Check this out:

https://www.zoom-na.com/

The most amazing recorder I have yet seen. I could get rid of my mixer,
multichannel recorder (Zoom R16) and my battery powered Phantom power
supply. It is a six channel recorder and full studio in a box!

Gary Eickmeier

um hi

[[email protected]]

On Saturday, September 28, 2013 at 5:58:43 PM UTC-5, Gary Eickmeier wrote:
Check this out:

https://www.zoom-na.com/

The most amazing recorder I have yet seen. I could get rid of my mixer,
multichannel recorder (Zoom R16) and my battery powered Phantom power
supply. It is a six channel recorder and full studio in a box!

Gary Eickmeier

ummmmm hiiiiii