True for a technical test, but for a musician recording themselves, the litmus test is which recorder provides the best sound using the equipment (microphones, cables, etc.) that the musician is going to use for the recording?
That said, the “best” recorder might sound pretty uninteresting compared with one whose preamps add some character or warmth; it depends on whether you value a pure uncolored sound or one that can be more or less used as-is with no additional EQ needed. Either approach has value, it depends on your priorities. I am familiar with classical engineers who are firmly in one camp and others who are in the other.
Good call on the musician plugin. I’m tempted to purchase given your recommendation. For now, I’m recording to polywav and splitting via the free wave agent app (works really well via Wine).
Yes, I use Wave Agent as well and it’s easy, but one more step in the process. Eliminating that step is just a convenience; for me the more compelling advantage of the Musician plugin is the ability to do zero-latency overdubs and multitracks (e.g., playing duets with myself, punching in to fix mistakes, etc.). Perhaps not a super valuable feature for classical music and of course there are other solutions, but not having to worry about latency or adjust my buffer settings for recording vs. mixing is a nice touch.
Once again I’ll trust your opinion, @anon60445789
The Zoom f6 is almost half the price, it has 6 inputs instead of four and actually everyone speaks very highly about its audio quality. I will order it through a local distributor.
I imagine that the 32-bit float type recording is fully compatible with Ardour, just download the wav file and nothing else.
A different theme, today has been presented the recording of a new cd of the Baroque Orchestra of Seville with the great Spanish cellist Asier Polo.
I have made several screenshots in case you want to see the setup.
I think it sounds pretty good, maybe the winds are a bit low.
Early days but essentially this will allow loudness analysis/conforming as part of the editing/mastering stage of workflow. Scenario: 1) User gets to the end of editing and mastering work 2) Ardour analyzes the session (all active tracks via the master bus output) and offers a gain addition or subtraction based on your desired target loudness or peak values. It means that export of individual FLACs etc can happen all within Ardour having achieved a loudness target across whole the album which is essential for classical albums versus wanting every piece to be the same loudness and thereby destroying volume relationships). Truly amazing.
A GIF of the 6.2-82-gaffc28a0a0 debug build running a prototype of the Loudness Analyzer and Normalizer (LAN) on a classical keyboard piece. Analyzed and subsequently conformed to -16 LUFS short-term max:
Today I have been talking with the company that manufactures the cds and they ask me for ddp files. I have started the post in my thread about the flute CD I am making but it is interesting that it is also in this post.
You can see the beginning here:
I used Ardour to export with the option “Red book” a wav+cue file and then I converted it to ddp with DDP Maastering Tools.
@anon60445789 made a script to be able to hear the ddp files, I haven’t had time to use it yet. You can find it here:
Too late for me but this is great for anyone else looking at purchasing. Thanks! I am also saving it as a Christmas present but in the new year I hope to post a little on how Ardour can integrate with these workflows and also note if the way I think about these things changes in any way after reading.
