Propeller Head Plaza

Technical and scientific discussion of amps, cables and other topics.

Use this form to submit comments directly to the Asylum moderators for this forum. We're particularly interested in truly outstanding posts that might be added to our FAQs.
You may also use this form to provide feedback or to call attention to messages that may be in violation of our content rules.

You must login to use this feature.

Inmate Login

By default, logging in will set a session cookie that disappears when you close your browser. Clicking on the 'Remember my Moniker & Password' below will cause a permanent 'Login Cookie' to be set.

Moniker/Username: The Name that you picked or by default, your email. Forgot Moniker?	Examples "Rapper", "Bob W", "joe@aol.com".
Password:	Forgot Password?
	Remember my Moniker & Password ( What's this?)

If you don't have an Asylum Account, you can create one by clicking Here.

Our privacy policy can be reviewed by clicking Here.

Inmate Comments

From:
Your Email:
Subject:

Message Comments

Original Message

Re: I would like to hear Ray's setup

Posted by unclestu52 on November 13, 2006 at 11:09:43:
I was lucky to have the opportunity to chat with Ray for a while about his process. The recommended rear placement was 135 degrees off of dead center, with the front speakers set up in a normal stereo configuration. Ray bypasses all processing as you wouldn't have the faintest idea of how the recording engineer mixed in the rear channels or how much reverberance he placed in the recording. He records in discreet four channel mode.
Admittedly his process will not work for many pop recordings, which use overlays of channels and over dubs to create certain effects. It does work well for classical and jazz which can and are often performed acoustically live.
The biggest problem with all processors is the variance in the recording techniques. Technically, one may have to adjust the parameters for every recording. I can not see any listener really doing that consistently.
Stu