The New Fidelity—192/24 - AVS Forum
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post #1 of 8 Old 04-30-2013, 01:19 PM - Thread Starter
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Recording engineer Bill Schnee talks about his illustrious career working with such artists as Steely Dan, Thelma Houston, and many other top-name musicians; his direct-to-disc recordings for Sheffield Labs; his own label, Bravura Records, for which he records live performances direct to 2-channel; the importance of using a 192 kHz sampling rate and 24-bit resolution when recording digitally; how he built and equipped his own recording studio; answers to chat-room questions; and more.

 


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post #2 of 8 Old 04-30-2013, 08:07 PM
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A great interview, Scott (as always). As a long time home recording engineer I was interested to hear Bill's insights as to how things progressed from analogue into early digital, and now to hi-res digital. Of course I immediately went to the Bravura Records site and downloaded their free Christmas songs. Man, what a difference to hear music presented with it's full dynamic range intact. I got goose bumps listening to all 5 songs.

I'll look forward to following Bravura's progress. Thanks again, Scott, for giving me another weekly dose of important and cool stuff.
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post #3 of 8 Old 04-30-2013, 11:32 PM
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My redbook CD of Sheffield Labs live to two track Sampler Prime Cuts... is one of my Demo disks and what I use to listen to new audio gear. I can't remember how or why I bought it... .. I tell myself now it was in the bargain bins... but who knows...

Thelma Houstons performance absolutely sizzles... If only... she had not dropped that last bar... I would follow up and ask Bill Schnee... how did they produce the CD?.... parallel output to to the cutters and a master tape and then to a standard A to D mastering process of the day... (early CD's)... (Tower of Power and Dave Gruisn tracks are great... James Newton Howards track really swings as well.


Second follow up... How would his 24/192 A to D manage those old Sheffield tapes sound? ... Is it worth trying to recover these recordings... or are we looking at newly recorded music..

A key factor in appreciating high res 24/192 music will be your access to a High Resolution Audio system.... These are pricy! Does he hear the differences in high res formats... 44 to 96 to 192 on headphones? It could be that experience of the somato-sensory plus auditory system are only engaged when listening to a great sound system in a good listening room.(Tis my theory on how high res works on the human experience)

Anybody have an idea of how resolving a high res stereo system you need to hear the value in high resolution file formats...

Phase shifts and jitter ruin the sound experience whether its 44 to 192... How does his studio gear manage this trick given it's vintage origins..
Beyond frequency range and compression that Bill addresses... it is the inner detail of a complex recording and it's signal to noise that gets a recording a Grammy... What are secrets in capturing this info.

Does he have a favorite DAC that matches his high res files... Low jitter etc....

Lastly.... a question about the artists and their culture... Do they value the integrity of a live performance going straight to the hard drive... no fooling around with tracks...OR are they so hooked on their pro tools on their pc that ... along with autotune...a huge disk of stuff/tracks can be handed to the engineer and told... Make me a hit record!

thanks and I loved the interview!
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post #4 of 8 Old 05-01-2013, 06:22 AM
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Here's a question that just popped into my mind: Are there any Grammy winning mixers that won a Grammy on an album that has the crap compressed (loudness wars) out of it?

An audiophile likes to talk about how much they spent and how good it sounds.

A DIY'er likes to talk about how little they spent and how good it sounds.

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post #5 of 8 Old 05-01-2013, 11:05 AM
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Very interesting interview with Bill Schnee, who I am familiar with, having purchased a great many audiophile LPs, mastered by the guys back in the late 60's and the '70's and '80's. I have been involved in transferring them to DVD-A format, (discussed here by a fellow audio friend some time ago) using an E-MU 24-bit/192KHz digital PC interface and discWelder Bronze DVD-A burner software, with the LP's being played on a Sony BioTracer with several different moving coil cartridges (Accuphase, Mobility Fidelity) a modified NAD 1240 and monitored via nearfield Tannoys and wide field via Lynn ISOBARIKs fed by a Bedini amp. Certainly not a configuration with the resolution capabilities of Bill's studio gear, but well able to demonstrate the sound of these great old LPs now on 24/192KHz DVD-A discs. Bill's remarks about what we hear with 24/192 material and why, sure brought some big smiles to this old face... as my much lower rez system does to my friends faces, when they hear my DVD-A transfers... then go home and throw away their CDs. ;-)
24-bit/192KHz indeed. Thank you!
-Rod
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post #6 of 8 Old 05-02-2013, 10:22 AM
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Big difference in the sound quality of 24bit192khz recordings that are done right. As more home stereos have network support and flac play back people will start to hear the difference. HD Tracks is building a nice catalog of high res tracks. They have been doing a great job brining old classics out in 24bit 192khz format. Makes me wish this would become the standard but I don't see that happening with the large file sizes for a while.
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post #7 of 8 Old 05-04-2013, 03:50 PM
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I'm collecting as many SACD's as I can. Bill Schnee said it great we already have the tech for very good home reproduction of music. we just need to wake people up to the fact CD's sound rough and mp3 are a plaque upon humanity.
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post #8 of 8 Old 05-05-2013, 07:28 AM
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sony started sacd to compete witrh dvd audio. They then turned on the format, then embrace it once again? sacd is an audiophile media. dvd audio and bd are so much better in sound quality. The diff. is clear. dvd audio and bd will tell you the out put resolution. sacd will not. why? There is a very good reason. The removal of some information. OK not compressed, but altered. I have both. I do not play my sacd's. In fact I sold most of them, due to lack of presence.
There is no argument-2 formats are clearly better. They do not use sacd for audio tracks on bd movies!
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