|
Audio Asylum Thread Printer Get a view of an entire thread on one page |
For Sale Ads |
208.177.163.234
In Reply to: Interesting Hi-Res (especially SACD) article in EQ magazine. posted by theaudiohiffle on December 31, 2004 at 16:41:07:
As an owner of a small private studio, and a fan of SACD, I think the advances this year do bode well for SACD. I don't know how usable some of the products you have noted above will be, but I do think the "public" introduction of the Sony Sonoma products in 8 channel incremented multichannel recording format with high quality plugins will be the ticket. While it is presently on the spendy side for a 24 track system with all of the Meitner gear included, $59K or so for a full DSD system that can do 7.1 is really appealing to larger studios. I expect the price will come down in time.As much as most studios looking at DSD would like Pro-Tools to record in DSD it doesn't. I think for anyone serious about DSD, the Pro-Tools system is not going to be of serious use because the plug in only converts PCM tracks from pro-tools into DSD which isn't going to sound as good as DSD. Since Pro-tools is so dominant in studios ranging from basement quality to world class, full implementation of DSD into pro-tools would be the thing to watch for as far as wide spread implementation. At least that is my take on it.
I still do not think that the other systems (which may have excellent recording capability) do not have the editing capabilities that studios seek for pop or rock type music where multitracking is prevalent, and effects are essentially required by labels and much of the public. Plus a couple of these systems are Windows based, which many studios and engineers (including our own) stay away from because they tend to crash after hours of work.
So, I think once the Sonoma Work station prices come down, or Pro-tools implements a full DSD system you will see a lot more SACD product from smaller studios or individual artists. I think that the good news is that companies are developing the products to get us there, which indicates they believe there is a future for SACD.
Follow Ups:
that is about the best and most respectful reponse that i have seen in a long while here,,i really apprecita the information that you have put out ,,
not that i would imply , but even if you were bs'ing, i really enjoyed the read that you provided,,, you should reply more often , if you have done so , forgive my response, i have just gotten back form deployment, so i havent been able to check the forukms out as much i would like to have done,,,
thanks again,, and happy new year,,,
...I'm a really small guy, basically thinking of doing 4.0 recording of chamber music and jazz (or perhaps 5.0 using M/S)on my 30ips Otario MX-12 and then transferring to a workstation for mastering. Have considered using Airshow Mastering as an alternative. So to me the opening floodgates are enormously appealing.I've amassed about 150 SACD titles and 15 DVD-A's, and have yet to hear much in the way of really well-recorded chamber music (I did such recording for about ten years averaging about thirty sessions a year, and have a pretty fixed idea of the kind of sound-capture I wish to achieve).
You are right, though, that 57k state-of-the-art is probably more important to the immediate future, as most decent-sized studios can afford that.
Harry
n
This post is made possible by the generous support of people like you and our sponsors: