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[Al Rettich]

More and more rider's I'm seeing show yamaha consoles with external clocks. I personally don't care, but I'm in the business of making money. Therefore if folks want a external word clock, I'll get one...

So what's wrong with the sound of whatever Yamaha you bought?

[Tim Weaver]

More and more rider's I'm seeing show yamaha consoles with external clocks. I personally don't care, but I'm in the business of making money. Therefore if folks want a external word clock, I'll get one...

That just shows you that it takes at least a decade to get management to start sending out the correct rider!

[Tim McCulloch]

More and more rider's I'm seeing show yamaha consoles with external clocks. I personally don't care, but I'm in the business of making money. Therefore if folks want a external word clock, I'll get one...

That's why I said a couple posts above to just buy the Black Lion... $300.  If they want better you can hire it in or they can bring it.

Recently I saw an Avid Profile system with an external clock - and that clock was powered up but not connected to the console... but the BE swore it was needed to made an Avid rig sound acceptable.

This is all silly.  AND it makes me question why/how the BE that specs a clock can be taken seriously as a Mixerperson, because he/she is 'hearing' shit that isn't there.

[brian maddox]

That's why I said a couple posts above to just buy the Black Lion... $300.  If they want better you can hire it in or they can bring it.

Recently I saw an Avid Profile system with an external clock - and that clock was powered up but not connected to the console... but the BE swore it was needed to made an Avid rig sound acceptable.

This is all silly.  AND it makes me question why/how the BE that specs a clock can be taken seriously as a Mixerperson, because he/she is 'hearing' shit that isn't there.

yup...

There've been a few times when i've worked with folks that i had a lot of respect for who swore they heard differences in the 'sound' of various gear that i just didn't hear.  I just figured my ears weren't golden enough.  Bothered me until i realized that people kept calling me and the checks kept clearing so i must be doing Something Right, Golden Ears or no Golden Ears....

[Justice C. Bigler]

yup...

There've been a few times when i've worked with folks that i had a lot of respect for who swore they heard differences in the 'sound' of various gear that i just didn't hear.  I just figured my ears weren't golden enough.  Bothered me until i realized that people kept calling me and the checks kept clearing so i must be doing Something Right, Golden Ears or no Golden Ears....

I kind of feel the same way with all these new analog noise and saturation emulation plugins coming on the market. Like all the new Neve stuff on the PM10.

[Scott Helmke]

I kind of feel the same way with all these new analog noise and saturation emulation plugins coming on the market. Like all the new Neve stuff on the PM10.

People like distortion.

[John Roberts {JR}]

People like distortion.

If you are going to promote some new sound as being better, it has to sound different. Modern audio paths are already linear to the limits of our perception, so to sound different you need to introduce errors. (distortion, frequency response, etc).

JR

[brian maddox]

I kind of feel the same way with all these new analog noise and saturation emulation plugins coming on the market. Like all the new Neve stuff on the PM10.

The Neve thing on the PM10 is an obvious marketing ploy to try to pacify the teeming hordes' deafening cry of "Yamaha consoles sound bad!!!!".  I have no doubt they color the sound.  I have significant doubt that they make it 'better'...

On this subject i again return to my previous point.  I spent years Mixing and System Teching for A and B+ level acts ranging from Symphonys to Motown to Metal to Country to whatever else you want to name.  99 percent of those shows were on Yamaha desks, both analog and digital.  Never once had an audience member tell me the show sounded bad because of 'That crappy Yamaha desk'.  And i've never had someone tell me that they wouldn't use my services again because 'you use those terrible sounding Yamaha desks'. 

Even the local Sound Co. Owner that looked at me like i'd grown a second head when i spec'd his 4K over his XL4 for a symphony job 

[Scott Helmke]

If you are going to promote some new sound as being better, it has to sound different. Modern audio paths are already linear to the limits of our perception, so to sound different you need to introduce errors. (distortion, frequency response, etc).

JR, knowing what you know about distortion harmonics...

If somebody tells you that brand M sounds "clear and open" and brand Y sounds "muffled", which one is more likely to include some distortion?

[Ivan Beaver]

JR, knowing what you know about distortion harmonics...

If somebody tells you that brand M sounds "clear and open" and brand Y sounds "muffled", which one is more likely to include some distortion?

The old Aural exciter back in the 80s was basically a "distortion generator" that added "sizzle" to the sound.

The basic idea was to have a clean path mixed in with the "variable distortion" path.

The distorted path was basically clipped diodes, run through a high pass filter.

So the only part of the distortion that was added was the upper part.

In those days, systems did not typically go as high in response as they do these days, so that did add "something" different to the sound.

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