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Thread: So what did you discover from the ADCD?

  1. #21
    Join Date
    Aug 2001
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    Fort Wayne, IN, USA
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    I just received an email from another ADCD listener and post it here with his permission.


    From: Douglas Thompson
    Date: Tue, 30 Sep 2003 01:30:12 -0500
    To: go3daudio@aol.com
    Subject: An ADCD Question

    Dear Lynn,

    I received with great interest my copy of the ADCD this week, and am
    appreciating the opportunity you've provided to hear the various
    converters side by side.

    After several hours of listening to the first two sections through,
    what really stands out to me is, if you subtract the clearly inferior
    and clearly superior sounding converters from the rest of the pack, 1)
    how small the differences in converters can be, and yet 2) how
    significant to the overall sound picture those frequently small
    differences do make. I expect several more hours of good listening
    from the CDs -- it's a great resource.

    Lynn, I have a question. Thus far, through blind listening, a couple
    of converters struck my ears as superior: the Weiss and the Prism. Yet
    I'm wondering, could you give me a sense for how "accurate" these two
    converters were to the original sound sources? I must say, the Prism
    strikes me as simply "gorgeous" sounding. Wow... Ms. Mosser's voice,
    especially, is wonderfully silky throughout the range through the
    Prism. The Weiss, to my ears, in many ways equals the Prism, being 96%
    of that unit on the voice and less similar to the Prism on the guitar.

    The differences between these two converters and "the rest of the pack"
    reminds me of the differences in two preamps I regularly use to record
    classical stuff: a Fearn VT-2 and the Millenia HV3. I can count on the
    Fearn to make everything sound silky and analog -- very "undigital" --
    just as the Prism seems to do with all the source material, as well as
    the Weiss, to a tiny bit less extent. The Millenia is, in contrast,
    definitely more "transistory," but in a good way, and in a way that is
    not at all cheap but extraordinarily well done (that's, or course,
    where the analogy to the "rest of the pack of converters" breaks down:
    the Millenia is really great sounding in that medium).

    So, hence, my question regarding how the Weiss and Prism matched to the
    source material? Neutral? Adding "some depth?" Adding some "magic?"

    Thanks for any thoughts you'd care to share.

    Kindest regards,

    Douglas Thompson
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

  2. #22
    Join Date
    Dec 2001
    Location
    Czech mountains and forests
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    813
    I am meditating a bit about a proportion. Just now I made a huge revolution in my small studio - got a matched pair of Millennia Origins (for 6000 $). It brings my sound to a completely new amazing league with unlimited number of options and varieties - and everybody can hear the difference. If instead I would spent 8000 $ for the Prism stereo AD , having already Apogee and Mytek (on the way), the difference between the present state and 8000 $ higher state would be most probably just very subtle and not everybody would even notice. Even in 10-20 years Millennia units will be most probably the same great and usable as now, whereas Prism AD could be very likely just an antique without much value (since much better and cheaper convertors will be most probably available). There may be a difference between Mytek and Prism, but is it possible to say that Prism sounds 8 times better ? I am afraid that these things are a lot overpriced ... (I have listened to ADCD ...)
    Ivo

    VELVET MASTERING
    www.velvetmastering.com

    SAVITA MUSIC
    www.savita.cz

  3. #23
    Join Date
    Jan 2004
    Location
    Northern California
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    174
    Lynn Fuston Wrote:

    "How about this? A free 3D Audio coffee mug to the first person who correctly identifies it here."
    Did anyone win the coffee mug yet? I think this is a trick question. I'm guessing the bonus cut was all analog until the CD mastering stage. So maybe the Manley Labs SLAM! was used for that?

    btw, Lynn, I know I'm late to the party here, but great work and thanks for sending the CD's out so promptly.

    As you pointed out in another thread, the graphics on the ADCD are very slick and professional looking. Hats off to KK from Krew Media.

    As to the title of this thread, what I've discovered is that the original criticism of digital recording by professional analog recording engineers still holds true somewhat. That is, the upper mids in digital recordings can sometimes sound shrill. Although, I think things have definitely improved since digital recording started becoming common.

    The other thing I noticed is that not all converters are all things to all styles of music! For example, I really liked the dCS 904 on the Kerosene Brothers and Mosser & Baldwin, but thought it sounded too bright on the Bob Mintzer big band track.

    I thought there were only a handful of units that handled all three styles of music well. Notably, the Weiss Engineering unit (great lows and mids), the Manley Labs SLAM! (w/ tubes and transistors), The Crane Song HEDD 192 (w/ processing) and the Drawmer DC 2496. I'd give an honorable mention to the Apogee PSX-100. Oddly, I never cared for the Prism until it was externally clocked.

    Looking at that list, I guess I like ADC's that intentionally color the sound to make music sound more...analog.

    Paul

    [ January 24, 2004: Message edited by: PaulyD ]

  4. #24
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    No one won it yet, but I'll tell you are extremely close in your pursuit.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

  5. #25
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    mission hills, ca
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    As you pointed out in another thread, the graphics on the ADCD are very slick and professional looking. Hats off to KK from Krew Media.

    thanks for the props! glad someone finally noticed!!! HA HA
    IN HIS SPIRIT
    kk

  6. #26
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    Aug 2001
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    A lot of people notice and comment. But like a lot of trades, the comments don't always get back to the right persons.

    Ever made a great sounding album, sent it out the door and never heard anything else about it? Not even gotten a copy of the final CD? It happens to me all the time.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

  7. #27
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    Mar 2004
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    Diamond Bar, CA
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    Do any of these converters have any noticable latency issues?

  8. #28
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    That was not a part of the testing so I honestly have no idea.
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

  9. #29
    Join Date
    Oct 2004
    Location
    Scott City, MO
    Posts
    1
    I started recording about 2.5 years ago with a couple Delta 1010s. I've slowly upgraded my gear, but it seams that lately my gear is screaming to be upgraded.

    I do a wide variety of projects but it seams that my recordings tend to suffer from extreme "smear" in the mids. When I mix I feel that nothing is distinct in clear. Everything sort smears together. I do mostly overdubs with a variety of prosumer condensors and dynamics and almost exclusively use my Vintech 1272 preamps.

    It seams that my recordings are always "wrong". Maybe another way of describing it would be "flat" like soda that was left out overnight. "Boring" comes to mind a lot of times.

    Anyway, the only convertors I've uses are the Delta 1010s internal convertors. I'm ready for serious upgrades, but I want confirmation that the Delta 1010s convertors sucked. Maybe sucked is a strong word as I've been proud of a few of my productions. However, I can never seam to get the modern rock / metal sounds right. I think this has something to do with lack of high end detail in my converters or excessive smear.

    So, how did the Delta 1010's converters do? btw, Where can I buy the ADCD?

    Brandon

  10. #30
    Join Date
    Aug 2001
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    Fort Wayne, IN, USA
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    It sounds like you can use improvement in two areas, based on your written description.

    1) converters, which may fix the problem, and

    2) clocking.

    Check out the ADCD first though and see if you can hear the difference between cheap converters and great converters.

    3D WebStore
    Lynn Fuston
    3D Audio

    Making beautiful music SEEM easy since 1979.

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