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Messages - Julio Di Benedetto

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1


Amazing movie that I highly recommend if you have not seen it.  This is a fascinating look at the making of the film score to Arrival

The composer Johann Johannson is score the upcoming Blade Runner movie  8)

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Upgraded my signal chain recently to a Phoenix Audio pre amp.....I have run all my synths through mic pre's since around 2007 and my studio has been balance since then.  Having the Eq is really nice though I tend to over do it just because it makes the pre's sing.  Its a bit strange to me as the low frequencies are on the right side and high on the left.  This is the first external hardware Eq I've had so what do I know ;D...think it may have something to do with the much revered Neve 1073 pre amp that a good deal of manufactures are inspired to recreate and harness its sonic virtues



That you buy Phoenix Audio stuff means you have done a lot of reserach, Phoenix Audio a kind of hidden gem in the audio community, they use transformless designs , it brings the best of both worlds, the sound of neve and the clean sound of solid state.
The guys behind the company did repair for neve.  Even though they cost a lot you still get a lot for the money they are a lot more cheaper then  lets say a neve, but Phoenix Audio also bring their unique sound and combination of both worlds .

I had plans to buy the NICE DI for guitars and also the NICERIZER as summarizer I also had plans to buy the EQ,  their 500 Series is most affordable, I had plans to buy 3 of their 500 series to fill a 19 rack. DSR-8 Was my choice after long research  If I buy a mic pre today I would choose DSR most likely.

Sound pur made some good review of them.
https://www.youtube.com/user/soundpurestudios/search?query=+Phoenix


Your are right Ekstasis, Phoenix Audio do make really "Nice" kit.....you have obviously research it yourself.  The Nice Di was something I had looked at a while back before I wanted to commit to a full pre amp, its well priced.

The DRS - Q4 Mk2 actually has no transformers on the inputs but has them on the outputs.  I do not touch the input gain and leave it at its lowest setting but dial in the gain on the output to saturate the transformer.  For super clean the reverse would be the case. Its not really colored compared to my experience with tubes but the pre amp has a beautiful way it articulates the sound of whatever goes through, in my case its synths and the Eq is very special

I had an eye on a few pre amps in traditional rack form and 500....the main contenders were the Avedis MA5 in API 500 series and the Aurora Audio GTQ2 Dual Channel Preamp/EQ....both look back to 1970's British console design pre's for inspiration.  I found the Phoenix Audio Mic pre on sale for around $800 off the list price at a us dealer, Zen Pro Audio, the rest is history as they say.


3
Upgraded my signal chain recently to a Phoenix Audio pre amp.....I have run all my synths through mic pre's since around 2007 and my studio has been balance since then.  Having the Eq is really nice though I tend to over do it just because it makes the pre's sing.  Its a bit strange to me as the low frequencies are on the right side and high on the left.  This is the first external hardware Eq I've had so what do I know ;D...think it may have something to do with the much revered Neve 1073 pre amp that a good deal of manufactures are inspired to recreate and harness its sonic virtues



Julio ... you just paid a lot of money for a half-empty box !!   ;)

Of course...expansion, bigger transformer upgrades and there is no need for internal isolation as there's so much space theres no chance of signal transference  ;D ???  Damn that is a lot of space...does sound sweet though.


4
Upgraded my signal chain recently to a Phoenix Audio pre amp.....I have run all my synths through mic pre's since around 2007 and my studio has been balance since then.  Having the Eq is really nice though I tend to over do it just because it makes the pre's sing.  Its a bit strange to me as the low frequencies are on the right side and high on the left.  This is the first external hardware Eq I've had so what do I know ;D...think it may have something to do with the much revered Neve 1073 pre amp that a good deal of manufactures are inspired to recreate and harness its sonic virtues


5
Funny video....I did audition a pair of Audeze planar magnetic headphones and they were good as I recall.

Ive heard planar magnetic speaks like Quad and Martin Logan but my earbud listing is very limited.  Cant imagine listening to mp3 files will really give these in ear cans much to work with.  Flac would be better at least.

There are some serious high end mobile playback devices...all the names escape me....that these buds would really pair well with.

 8)

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Very good post!

I have not listened to Pandora in more than a year but I did enjoy listening and creating various "station".  For me it was like listening to the radio though specialized to my taste and I treated it rather casually as background music.

I shared both of your approaches to streaming.....as a way to discover new music that I will buy hopefully in a physical format.

I wonder if "All Access" and the saturation streaming creates also diminishes the experience.  Too much to choice from is not always a good thing and we live in a world that succeeds by maximizing the amount of options.

Less is more or more is simply more and better.

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Came across this eArtical....seem to touch on some concerns and possibilities....Discuss

Music rarely exists in a vacuum. From classical concert programs and 12-track albums to DIY mixtapes and personal record shelves, we imbue songs with new meaning by connecting them to each other, by treating them as elements of a wider, self-constructed narrative

We are music collectors by design and by necessity—an identity threatened by the rise of streaming.

In previous decades, physical formats like CDs, vinyl, cassettes and 8-tracks required us to limit our music consumption, if only to keep our wallets in shape. We didn’t just throw money and time at music left and right, but rather invested more wisely in a handful of albums and artists, with whom we developed intimate relationships through repeated listens and colorful liner notes. Filling our binders and shelves with these records also facilitated a more positive, aspirational side of our aesthetic identities: we set tangible, attainable goals for our collections, and could show off these works in progress to our friends and family whenever they visited for dinner.

The three recent stages of digital disruption in music — which can be bookmarked by Napster, iTunes and Spotify — have made our collections more public, more granular and more abstract, respectively. Napster is known not only for making recorded music available at no monetary cost, but also for motivating users to share their musical tastes with each other (it’s called file-sharing for a reason). iTunes unbundled the standard album into its individual tracks, enabling users to handpick their favorite songs and assemble a wider-reaching collection with a higher concentration of artists over the same amount of [virtual] surface area. Spotify not only has made musical shelf space infinite, but has also made the term “shelf space” irrelevant: its users own nothing. Instead, they pay for access, shelling out the rough cost equivalent of 12 CDs per year ($9.99 a month) to peruse millions of songs at their fingertips.

More significantly, to an extent, streaming services do all of our tedious music collecting work for us. With playlists as our framework, we can think of each streaming service as a unique “collection of collections,” using a distinct philosophy of curation to unpack an otherwise noisy music catalog. Spotify, for instance, touts its algorithmic prowess, pushing fresh, tailored and automated collections like Discover Weekly and Release Radar to its users on a weekly basis. Apple Music prefers to market its “human” curational talent, frequently recruiting celebrity guests like Alexander Wang and Clare Waight Keller to fashion [no pun intended] their own playlists for clout-hungry listeners. Tidal takes pride in its limited reach, snagging exclusive distribution deals with masterpieces like Beyoncé’s Lemonade and Kanye West’s The Life of Pablo.

Any effort on our part to seize control of our music collecting habits away from these streaming services ultimately feels burdensome and futile. Exclusivity clauses à la Tidal make it difficult to consolidate one’s entire online music collection into a single platform without paying for multiple streaming accounts (back in 2009, Eliot Van Buskirk suggested that the music industry build a global, universal, public database of songs to ease this friction between services, a vision that has since fallen through the cracks). The constant push for “discovery” — for maximizing the explorative opportunities enabled by data science — leads more and more streaming users to consume music like the average internet user consumes news: as brief sound bites that barely have time to breathe before being engulfed by new content.

All of these factors lead to a new type of digital music fan and collector: one who prioritizes breadth over depth, who sees collecting as performative rather than inquisitive, and who defines their tastes more by the how (the streaming services) than by the what (the songs). This profile presents a challenge for the music business in drawing attention away from music creators, the very lifeblood of the industry. Indeed, while streaming makes it easier for artists to reach potential new fans, it also makes it even more difficult to retain a group of loyal listeners.

After all, it is important to realize that we mourn music not when a song falls off the charts, nor when a streaming service fails to break even, but when we lose an artist. In 2016 alone, we said some of our most painful goodbyes as a collective music community to prominent figures like George Michael, Leonard Cohen, Prince and David Bowie. Unfortunately, deaths are the only opportunity many listeners have to dive deep into an artist’s background and life story. In contrast, artist profiles on streaming services remain sparse, providing no context or biographical information aside from their discography and a list of related artists. While music streaming is better for the consumer from the perspective of time- and geography-based access, convenience should not erode connection.

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Other Ambient (and related) Music / Re: The Art of Listening.....a movie
« on: February 25, 2017, 10:18:44 PM »
Thanks Jana for posting the full video.... a lot to think about.  This is clearly musicians enjoying talk about their passion for sound.  I thought from the trailer it might lean towards the listener / music fan a little more but not so though it does express the passionate energy wrapped up in the process of recording music first and foremost for the listener.

I really understood how music is an energy that works on a different level than just what we perceive as hearing it.

Also really adhere to the "quality" of sound the video suggests we strive for and how we so short change our listening experience with inferior quality playback.



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Other Ambient (and related) Music / Re: The Art of Listening.....a movie
« on: February 23, 2017, 09:47:46 PM »



When I am waiting for the bus in the early morning when I go to work, I look at the bleak winter trees and enjoy their beauty, I think about the past and future of these trees and their beauty then and now. Then I think, these bleak trees have the most beautiful forms and I discover lots of new things like buds, and I wonder: When did those buds grow and are they always there all the time....

Then I look at the people who are waiting with me for the bus, and nobody looks at these old trees or the ravens that are flying above, I wonder: Did they ever look the beauty of nature? I end up watching the ravens and all the time I am listening to music on headphones, and I recognize that all the time the music was there but did I really listen or did the music made me looking up...

The art of listening, this is more than an ability, and more than art, it is just to sink into...

(and yes also whilst production process)

That is so beautiful put Jana.....I hear it and see it.  Perception is everything!

Thank You.

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Other Ambient (and related) Music / Re: The Art of Listening.....a movie
« on: February 22, 2017, 06:48:35 AM »
I ran Jana's German expression through a english eTranslator.....some interesting results.

http://www.linguee.com/german-english/translation/die+kunst+des+zuhörens.html

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Other Ambient (and related) Music / Re: Walter Geirs video
« on: February 21, 2017, 09:30:10 PM »
Thats fascinating APK.....they are beautiful to look at and so curious to hear.

Never heard of the man before...Thanks

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Other Ambient (and related) Music / Re: The Art of Listening.....a movie
« on: February 21, 2017, 09:14:18 PM »
Do painters practice the art of seeing?  No.  They practice the art of painting.  Art is a clearly defined thing and it doesn't include listening. 

The term art can be used in the figurative sense.  Now, if they called the movie "The Figurative Art of Listening", then I would have no problem with it.

I will listen to the soundtrack of the movie by Christopher Willits who currently has less than a handful of sales at Bandcamp.

You cannot paint with out seeing.  I have not painted anything in some 20 years but I can tell you seeing, looking, is as much an art as is the act of put paint on a canvas. Same goes with listening for the composer.  As to the act of listening for an audience all be it one person with an iPod and buds is an art is the real question.

Is reading an art?  Without it there would be no authors. A reader is part of the writers expression as is the listener for music....if you don't press the play button there is only silence. If nobody buys tickets to a certain concert then there is no audience to play for.

 

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Other Ambient (and related) Music / Re: The Art of Listening.....a movie
« on: February 20, 2017, 08:32:29 AM »


Hi Julio, I watched the first piece on the video.  It is interesting, but a bit romanticized and it only captures part of the process--the recording.  I think that the preproduction/postproduction, as unglamorous as it may be, can be just as important, especially when studio effects are an integral part of the atmosphere of the overall piece and when a piece is as through-composed as this one was.  The video also captures a piece primarily as a performance.  My pieces generally are not realized as single real-time performances, because of the layering of different instruments and sonic processing that I back into what I've already recorded.  Sometimes I use sonic bits that were recorded years apart.  I wasn't even sure that the melody in the video originated from the Korg MS-20 that he appeared to be playing.  I have one, and I don't think they sound that crisp, even with digital reverb.  My experience has been that a lot of the creative process can be uninteresting to watch, especially the parts showing frustration when a bit doesn't work.  ;)  Maybe it was just the slickness of the video that irritated me a bit.

Forrest


Hi Forrest.....with a video like this we have to throw in the "art of watching" as well ;D.  As I was consider what actually is the art of listening I came across this video and I do love the music but there was something more to it or more to it for my experience and Im wondering if listening has just as much to do with all our senses, not only what our ears perceive but also what we see, smell and even taste strange as that may sound.

The last piece in the video shows a little party followed by a performance and listening to it while I was watching it sipping a glass of wine I was completely involved in the experience on many levels.  Actually being there would be completion.

I guess what Im getting at is that I feel a performance maybe the apex of the listening experience...not sure where the art part comes in....I recall as a teenager listening to my Rush albums immersed with headphones looking at the jacket photos and reading the lyrics and then I went to see Rush in concert,  The Permanent Waves Tour. it was my first live performance of any style of music.  I was blown away, the sound, the energy, the lights, the musicians performing, the audience that I was a part of.  My favorite songs coming alive.

The act of listening to music is clearly a personal experience as is the creation of the music.  Music is an art form but it does not exist as does say painting or writing.  Music does not have three dimensions in time and space......could this means it requires something more to be truly heard?


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Other Ambient (and related) Music / Re: The Art of Listening.....a movie
« on: February 19, 2017, 11:03:04 PM »
This is the art of listening, its about listening, about the experience and the creation of sonic art in the  heart mind of this listener
.

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Other Ambient (and related) Music / Re: The Art of Listening.....a movie
« on: February 18, 2017, 07:25:32 AM »
The movie intrigued me also and its direction is not obvious from the trailer.  I thought it was most interesting when it was said that this is the best time, historically to "listen to music" technologically speaking and yet it maybe the first time that music is consumed as a casual sensory accessory due to mobility which asks is that the best environment to listen?  What is the best environment?  Music does not come with listening instruction generally though some do explain unique recording situations that are important to fully appreciate the listening experience.....perhaps the best experience of music is the concert for both the performers and the audience.  The interactiveness.  The complete immersion!  Lots to think about.

Tardigrade my own thoughts on this from a personal perspective.....I listen to music all the time which is mostly of my own in creation and during the compositional process I listen much more then I actually record. The two have to coexist no doubt and all musicians do it in varying degrees.  As a music lover/fan I feel being a musician is a disadvantage because I find myself still working when Im listening, analyzing, figuring out structure, separating the sonic layers to a piece and often missing the actual experience of enjoying the music.

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Impressive Minimoog D and virtual Moog shoot out.....the note for note comparison nulled each other out but I heard a difference in the melodic performance pieces, the Model D was brighter with a tad more punch and presence at least to my ears.  Splitting hairs really. 

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What a great way to be welcomed back from your sabbatical with the Hearts of Space broadcast.....Bravo!

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Now Playing / Re: Downpipe
« on: January 13, 2017, 11:31:38 PM »
I did not realize this thread was dug up from 2010....good job DeepR   8)

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Now Playing / Re: Downpipe
« on: January 13, 2017, 11:00:34 PM »


Here's a track I really really like....Underworld : Born Slippy,  its the performance that makes this for me.   The melodic synth part is just breath taking.


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