Dave Rat
Misinformation vs Simple Test - CAT5e vs CAT6a
updated
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00:00 Introduction
00:44 Solar Prices
01:26 Balcony Solar
02:59 Suicide Solar Plug
04:40 How Much Power
06:05 The Solar Power System
07:25 Hooking up to test
08:11 Solar Lean To
09:07 Safety Test
10:29 Outro
There are loads of bulky boxes and rack units out there but the convenience of a an all in one cable is super desirable for touring and travel and ease and speed.
Let's check out and test the Sonnect Soundwire USB-C to XLR transformer coupled digital audio conversion cable.
I compare the Soundwire to the the Apple headphone adapter as well as to another brand XLR to USB-c and another USB to mini adapter.
The results are quite interesting as I test for frequency response, noise, line balancing and the ability to tolerate phantom power.
youtube.com/watch?v=_ENUtonOyv0
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00:00 Introduction
01:31 Test Setup
02:23 Laptop Mini Plug Out High Freq Test
03:49 Generic USB to Mini High Freq Test
04:39 Apple USB to Headphone Adapter High Freq Test
05:11 Generic USB to XLR High Freq Test
06:24 Sonnect Soundwire High Freq Test
08:56 Noise Tests
10:26 Transformers
11:02 Low Frequency Tests
12:17 Phantom Power Tests
14:53 Summary
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Lets take a look at the new connector, the $90 tools they sell to open it and some work arounds.
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00:00 Introduction
00:25 Old versions
01:13 New version
02:40 Safety lock
03:30 Tool to open
05:50 Made a tool
06:51 Bypass safety lock
08:31 Why new safety is needed
09:55 Outro
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00:00 Introduction
02:07 SM58 Design
03:30 Goals and Test Setup
04:33 Measure Before Modification
05:45 P-Pop Creator
06:24 Reference Curves
07:28 P-Pop Test Modified Mics
08:36 Weed out the Weak Ones
14:56 Hear the Best Modification
17:40 Modification Description
19:08 Outro
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00:00 Introduction
00:23 Creating Point Source Sub
01:44 Reference Probes
03:46 2 Box Arrays
04:40 4 Box Arrays
05:42 8 Box Arrays
06:43 16 Box Arrays
08:56 Increasing Point Source altitude
10:56 Summary
Speaker Test Music:
Huge thank you to J.T. O’Neal and Riarosa for the music!
Band : Riarosa
Song: Better Than Nothing
Produced by: J.T. O’Neal
Mixed by : Brian Edwards
Mastered: Voyager Mastering
Better Than Nothing youtube.com/watch?v=X8YKLwPK3Mg
youtube.com/@UCG2K0fG2yXHTKIfqlwWCx1Q
instagram.com/riarosaband
riarosa.com
open.spotify.com/artist/5Rj6VDIagmf2GV76KfRCcB
facebook.com/RiaRosaBand
music.apple.com/us/artist/riarosa/1373348634
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00:00 Introduction
00:31 Remove the primer
01:52 Designing in Solidworks
02:20 Stepcraft CNC Cut the enclosure
04:51 Kerf Bends and Glue
06:40 Wood Prep and resin
09:16 Artillery Shell Prep
11:24 Components
12:39 Speaker Modify
13:30 Prep, port and paint
14:50 Pocket Clio Calc Thiele Small
15:22 Assemble
17:29 Low Freq Test
17:59 Concept and Voice test
20:47 Music Test
22:25 Outro
00:00:00 In this section, Dave Rat discusses the limitations of visual predictions for sound quality versus coverage and introduces a method for creating audio predictions of subwoofer arrays. He explains the three main configurations of sub-arrays and how they have tonal and coverage differences based on the arrival times of the subs. While he acknowledges that there is good prediction software available, he argues that audio predictions will provide a better understanding of sound quality and help prioritize it over coverage.
00:05:00 In this section, the speaker talks about how different subarrays have different levels of efficiency, with a bunch of subs at the same time close together being the most efficient, while a delayed arc set up with increased delay times can reduce the overall efficiency of a system. He also talks about how the difference in decibel levels between subarrays can be significant and may affect the impact of a show, and discusses his process of finding a way to demonstrate these differences in sound between various subarrays and listening positions using Sound Vision and an X32 console with programmed levels and time delays.
00:10:00 In this section the speaker describes a method of listening to the different sub-arrays from various listening positions using a prediction software and a grouping of four channels per sub-array. The software provides a visual representation of the electronic summations which the speaker then reproduces as a sonic representation. The differences in sound between various sub-arrays can be listened to in a virtual version of the live setting with one scene saved for each listening position. The speaker also discusses the limitations of the method and the impact of different sub-arrays on frequency response. They demonstrate this by first listening to an array of four subs spaced evenly, followed by a configuration of four subs with outer subs delayed six milliseconds for increasing horizontal dispersion, and finally, stacking two subs per side to see the differences in sound.
00:15:00 In this section, the speaker tests different subwoofer setups at different angles and distances to see how the sound changes. They test a variety of setups, including four evenly spaced subwoofers, a delayed arc, end fire, and cardioid setups. They note that there are trade-offs to each setup, including differences in volume and frequency response. Ultimately, the effectiveness of each setup depends on the specific listening position and individual needs.
00:20:00 In this section, the speaker discusses the different subwoofer configurations in various listening positions. By moving the subs out farther apart, they have gained back some volume and reduced interference with each other, ultimately becoming beneficial. The third listening position is especially crucial, as two-thirds of the audience is likely to be in the outer third on either side. The speaker explores various subwoofer setups and time delays, noting how each one affects coverage, volume, and efficiency. The end fire narrow cardioid seems to be the optimal configuration for this listening position, as it causes the least cancellation while still reducing low-end on stage.
00:25:00 In this section, the speaker discusses different subwoofer configurations on stage and how they affect stage energy and sound quality. Initially, the speaker uses a simple array that produces significant output on stage and creates a zipper sound. However, by adding a delayed arc and end fire to reduce energy on stage, the sound quality is improved and the coverage is widened. The speaker also uses cardioid arrays and improves upon previous configurations by adding distance between the subs. The new configurations significantly reduce stage energy and provide better sound quality.
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00:00 Introduction
00:24 Removing the beauty plate
01:04 Coffee Stand
01:39 Model in Fusion 360
02:04 CNC Holes
03:01 Finished Plate
03:32 Outro
Microphone techniques like cupping, which narrows the sound range. Testing a Coles 4104 microphone that has a lip bumper to help maintain the correct distance between the microphone and the speaker's lips. Various techniques, such as singing over the microphone, speaking far away and then getting closer, and moving side to side, are tested. Dave introduces background noise by using a compressor and compares the performance of different microphones, including the Shure SM58, Heil PR35, Audix OM7, and the Coles 4104 mic.
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00:00 Introduction
00:22 Shure SM58 near far, cup and off axis
03:17 Heil PR35 near far, cup and off axis
04:32 Audix om7 near far, cup and off axis
05:18 Coles 4104 near far, cup and off axis
06:39 Test with Compressor
06:56 Shure SM58 with Background Noise
07:13 Heil PR35 with Background Noise
07:30 Audix om7 with Background Noise
08:00 Coles 4104 with Background Noise
08:34 Retest without Air Noise
09:00 Input Sensitivity
10:00 Coles 4104 and F1
10:14 Outro
And also watch fireworks!!
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00:00 Introduction
00:21 Listening Position
00:50 Calculating the distance
01:50 Sound Clarity
02:32 Sound over cold water
03:50 Practical Application
04:40 Outro
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00:00 Introduction
00:23 Description and Parts
02:21 Problems to fix
05:21 Make a Belt
07:03 Test the Belt
08:34 Sealing the Diaphragm
09:42 Wireless Packs
11:47 Outro
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00:00 Introduction
02:00 Troubleshoot SM57
03:08 Remove SM57 Grill
05:57 Remove Capsule
07:04 Fix Lead Wire
09:49 Test Capsule
10:38 Mount SM57 Capsule
12:32 Attach SM57 Grill
14:08 Disassemble Beta58a
17:25 Assemble Beta58a
19:38 Test Mic Polarity By Ear
21:16 Outro
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00:00 Introduction
00:34 Quick Test
01:27 Disassemble and Mic Pads
03:29 Remove internals
04:27 How the Pad Functions
05:45 Disassemble Mic 2
07:10 Fix the Rattle
07:52 Reassemble
09:45 Test and Overload
10:42 Outro
Can you hear 1ms delay? .5ms delay? .1ms delay? Or even better?
Grab you headphones and lets give a listen!
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00:00 Introduction
00:15 Test Setup
01:09 1ms Test (1000 microseconds)
01:46 Verify Left vs Right
03:24 .5ms test (500 microseconds)
03:37 1/10,000th of a second test (.1ms, 100 Microseconds)
04:10 1/23,000th of a second (43 microseconds)
04:43 Sweep time test
05:34 Method to hear gear latency
06:45 Outro
I did a voice over and cool cool!
Monarchy of Roses
Can't Stop
Dani California
Otherside
Look Around
Throw Away Your Television
Hard to Concentrate
The Adventures of Rain Dance Maggie
Right on Time
If You Have to Ask
Factory of Faith
Under the Bridge
Higher Ground
Californication
By the Way
Encore Break
Around the World
Give It Away
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00:00 Introduction
00:37 2001
01:37 2002
02:42 2003
03:35 2004
04:47 2005
07:04 2006
08:06 2007
09:18 2008
10:29 2009
12:00 2010
12:37 2011
13:48 2012
14:23 2013
15:34 2014
16:44 2015
18:02 2016
18:39 2017
19:49 2018
20:36 2019
21:30 2022
22:15 2023
24:30 outro
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Band : Riarosa
Song: Better Than Nothing
Produced by: J.T. O’Neal
Mixed by : Brian Edwards
Mastered: Voyager Mastering
youtube.com/watch?v=X8YKLwPK3Mg
youtube.com/channel/UCG2K0fG2yXHTKIfqlwWCx1Q
open.spotify.com/track/2GFUihqFfRKvu3QfwX4UV9?si=s7uIF5dZSpK_HIPmmAp_bA
instagram.com/riarosaband?igshid=dandzd67g2mb
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00:00 Introduction
01:49 Test Setup
02:43 Crest 4801 Lowest Freq Test
03:27 Crest 4801 Highest Freq Test
04:16 Powersoft T904 Lowest Freq Test
05:40 Powersoft T904 Highest Freq Test
06:44 Crest Power Test
08:14 Powersoft Power Test
09:04 Short Term Power Test
10:39 Hear Power Differences wit Music
12:14 Hear 400 Watts vs 540 Watts
13:39 Outro
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00:00 Chaos vs Fidelity
02:41 Create, Capture, Reproduce
03:52 Instruments vs Point Sources
05:05 Sound Systems vs Point Sources
06:27 Bands vs Point Source
07:06 Pure Tones vs Overtones
09:55 Capturing Sonic Perspectives
11:57 Multiple Identical Perspectives
13:52 Creating a Single Perspectives
16:15 Avoid Repetition
17:58 Don't Amplify the Room in the Room
21:04 Portable Music in 1890
26:34 Death Biter 2000
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00:00 Introduction
00:12 L2 Deployment & Upgraded Coachella PA
01:01 L-Acoustics L2 Size
02:51 Rigging, drivers and weight
04:18 La7.16 Amps and DSP
05:03 Connectors Horns and Tilt
06:47 Cardioid & Fly bars
07:34 Align Array Laser
09:16 Rig Bars
11:08 Rotator and Weights
12:12 At Coachella
13:26 Coachella Main Stage PA
17:49 Extro
00:00:00 In this section of the video, the speaker demonstrates how conventional sound systems are designed to recreate an audio environment and bring the listener into that space, but it's not entirely realistic due to the physical world we live in with regards to distance and time it takes for sound to travel. Instead, the speaker lays out a different approach where the instrument, such as a guitar player, is placed directly in the listener's acoustic environment to create a more realistic scenario. The speaker also notes that audiophile sound systems are not based purely in science but are rather an art form wrapped in science, though there is science involved and audiophile speakers can still sound wonderful.
00:05:00 In this section, the speaker recommends purchasing speakers based on personal preferences for aesthetics, practicality, or sound quality. He suggests buying speakers that were used during the recording or mixing process if one wants a sound system that sounds closest to how it was intended. However, he notes that realism in sound reproduction is not the same as identical recreation or fidelity, and there are many factors that contribute to how we perceive sound. Ultimately, one should acquire the tools that will achieve their desired outcome.
00:10:00 In this section, the speaker discusses the importance of realism in reproduced sound, as opposed to just fidelity. Realism means that a sound source will sound real regardless of where you are in relation to it. The concept of a sweet spot, where the sound is best, is a result of flawed sound reproduction systems. The speaker then goes on to demo a homemade four channel, four signal speaker compared to a pair of vintage speakers using higher quality gear. He cautions listeners that the speaker may not be suitable for their specific application, but that it creates a realistic sound of a drummer in the living room.
00:15:00 In this section, a raw drum recording is played back through different speakers, including the real speaker without the sub, the stereo speakers, and the real speaker with the sub. The goal is to determine which sounds more realistic, not necessarily what sounds better or smoother. The platform from which sound is projected is crucial to creating sonic realism, and speakers that radiate all sound in one direction or a single sound in multiple directions are incapable of reproducing realistic sound. The fundamental platform is what determines the sound's realism, and once that is established, the sound can be refined.
00:20:00 In this section of the video, the speaker expresses their fascination with creating and reproducing realistic sound through instruments. They are impressed with how effective and simple it is to make something sound real, even though the YouTube format can only capture a fraction of the full realism. The speaker notes that the difference between formats can be heard, and signs off with a reference to Spicoli McConaughey.
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Dave Rat's video "Why Do We Want & Need Audio Compressors?" explains the concept and importance of compression in live sound and recording. Compression is needed to control the varying levels and limit the dynamic range to prevent distortion and ensure the sound is balanced and clear. The distance between the microphone and the sound source can cause volume differentials and bleeding from channel to channel, leading to unnatural sound. Compression can mitigate these issues and bring consistency to different instruments' sound levels. Analog and digital consoles also have different sound qualities that can be softened by using tube compressors or other methods. Ultimately, compression is an essential tool to achieve a consistent and balanced sound in live sound and recording.
00:00:00 In this section, Dave Rat discusses how microphones and the way we mic things can alter the Dynamics of the way things sound, adding noise and distortion that we normally wouldn't hear with our ears. This altered Dynamics is why compression is an important tool for recording and live sound. When an instrument is captured with a microphone, compression is needed to control the varying levels and limit the dynamic range to prevent distortion and ensure the sound is balanced and clear. However, there is a debate between using too much compression to get more level on recordings versus using compression in the live environment for reinforcement.
00:05:00 In this section, the speaker discusses the issue of volume differentials in audio recordings caused by the distance between the microphone and the sound source. The volume increase when a sound source moves closer to the microphone is magnified when the sound is amplified and played through a sound system, leading to unnatural sound. Mic distance can also affect the ratio of the instrument to the room, causing an undesired re-amplification of the room sound. Compression is a solution to mitigate the excessive volume differentials and low-end proximity effect caused by micing close to the sound source, and EQ can be used to adjust the excessive low end.
00:10:00 In this section, the speaker explains the benefits of using audio compressors to achieve a consistent sound by reducing volume differentials. While compressors can bring up the background noise in quiet parts, they can also reduce the transients of loud instruments and make them sound more realistic. The amount of compression needed depends on the system's dynamics or the design of the enclosure. The speaker also discusses how compression can help deal with inconsistencies in playing, such as bass players who have varying volumes in different notes.
00:15:00 In this section, the speaker discusses the difference between analog and digital consoles in terms of their sound quality. He explains how digital consoles are known for sounding clinical because they are good at maintaining all of the dynamics and transferring them in numbers that stay intact throughout. On the other hand, analog consoles tend to bleed from channel to channel, which softens the sound and gives you multiple versions of the same signal. This is why there is a desire for tube compressors or other methods to make digital console outputs sound more natural. The speaker then plays a slowed-down audio clip to demonstrate the alteration of dynamics and how sounds are captured, even with just a small change in proximity.
00:20:00 In this section of the video, the speaker explains that the proximity of a microphone to a sound source can have a significant impact on the balance between reverberation and direct signal, as well as distort the audio in unnatural ways. Compression is one way to deal with these issues, and the speaker demonstrates a test using a "sharp transient" tool to illustrate the effects of different microphone positions on the sound.
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Dave Rat discusses the concept of impedance, describing it as the resistance that electrical circuits have to the flow of alternating current while simultaneously demonstrating the sound differences between real voice, his Stormtrooper Speaker and a conventional speaker. He talks about the different types of impedance in various microphones, inputs, and outputs and compares it to a wire mesh that offers low resistance to small objects and high resistance to larger ones. Dave also talks about how different audio equipment like transformers, horns, amplifiers and microphones are impacted by impedance, emphasizing the importance of using the correct impedance for speakers, as using an incorrect impedance may damage the equipment. He also uses a voice test to demonstrate the importance of using the correct speaker and impedance for optimal sound quality.
00:00:00 In this section, Dave Rat talks about audio impedance and how it is different from resistance. Impedance is frequency-dependent, so it acts like a wire mesh that offers low resistance to small objects, high resistance to larger objects, and filtered out unwanted frequencies like a high pass filter. Dave describes the different types of impedance in various microphones, inputs, and outputs and also explains that a low impedance output can be thought of as a shovel where it will pass the signal with ease.
00:05:00 In this section of the video, impedance is compared to a pile of leaves and rocks or gravel, where low impedance is like a shovel that has a lot of push but little motion, while high impedance is like a leaf blower that can move all the leaves with wind but cannot move rocks or gravel. Transformers like a gear shift in a car, convert low impedance to high impedance, and vice versa, while an audio horn is an impedance transformer that takes the low impedance of a speaker driver and converts it to a higher impedance of air. However, all transformers have their limitations, and issues like putting more load on the driver can arise.
00:10:00 In this section of the video, the speaker discusses the impact of impedance on different audio equipment, such as transformers, horns, amplifiers, and microphones. He notes that while using a transformer may provide voltage gain, it also results in a loss of bandwidth and efficiency. Similarly, horns increase SPL and efficiency, but decrease frequency response and require EQ. The speaker explains that the way to determine whether something has a low or high impedance is to put a resistance load on it and see what the impact is. He also invites viewers to check out his other videos on the subject of audio equipment and knowledge.
00:15:00 In this section of the video, the presenter begins by explaining impedance, which is the resistance that electrical circuits have to the flow of alternating current. He then goes on to discuss speakers and their importance in a sound system. The speaker converts electrical energy into mechanical energy to produce sound. The presenter emphasizes the importance of using the correct impedance for the speaker, as using an incorrect impedance can damage the equipment. He uses a voice test to demonstrate the importance of using the correct speaker and impedance for optimal sound quality.
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Huge thank you to J.T. O’Neal and Riarosa for the music!
Band : Riarosa
Song: Better Than Nothing
Produced by: J.T. O’Neal
Mixed by : Brian Edwards
Mastered: Voyager Mastering
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00:00 Introduction
00:12 Mic level vs line level transformers
01:57 Line level test setup
04:26 Line level pulse test Radial Twin ISO, JS3 and Rapco ISObox
07:25 Line level music test Radial Twin ISO, JS3 and Rapco ISObox
10:30 Mic level transformer test setup
12:37 Mic level test pulse and music
13:56 Mic level vs line level transformers
16:37 Outro
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This video demonstrates the use of subgroup compression for mixing kick and snare with a bass guitar, with a focus on fast attack and short release and hold times for preventing pumping sounds. The bus master feature is shown for controlling individual instrument groups such as the kick and snare or guitar, and the importance of running effects like reverb associated with an instrument back into the same groups is explained. The effects of compression and reverb on the kick snare bass subgroup are demonstrated, with examples of how the reverb dominates the mix when pushed hotter and completely drops out when pushed lower.
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00:00 Introduction
00:11 Mr Bones
01:23 Kick and Snare Group Compression
03:48 Compressor settings
04:59 Why I use fast attack and release
05:59 Group DCA vs group level compression
08:30 EFX to group vs L/R
12:17 Wrap up
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00:00 Introduction
00:13 Passive Crossover
00:52 Active Crossover
02:02 Adding Subwoofer
03:40 Mixing Instruments
05:19 Separate Subwoofer Send
07:31 Outro and Up Next
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00:00 Introduction
00:31 Multi In Multi Out Speaker
00:45 Omni and reflective speakers
01:32 Point Source is not Real
03:36 Recreating Instrument vs Recreate Environment
05:28 A speaker that sounds realistic
07:58 The mic setup and real instrument
09:16 The Demo Description
09:44 Audix 3A studio Monitor
10:10 ADC L1090/2
10:28 Heil ESS AMT1
10:52 Bose 401
11:06 Storm Trooper 4D Speaker
11:28 1960s Spherical Speaker
11:43 NXT DML Flat Pat Panel
12:02 L-Acoustics MTD108
12:19 Storm Trooper 4D Speaker
12:41 Live Me vs Storm Trooper 4D Speaker
12:57 Rogers Studio 1 vs Storm Trooper 4D Speaker
13:20 Description and summary
14:55 Why Don't Speakers Sound Real?
16:55 Outro
This includes all the math you need to create an effective directional sub array with as few as two subs
There is a downloadable PDF on the channel members Telegram channel. There is a link in the members dashboard posts.
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00:00 Step 1 - Determine Tuning
00:30 Step 2 - Calculate 1/4 Wavelength Distance
01:14 Step 3 - Subwoofer Placement
01:33 Step 4 - Calculate Time Delay
01:48 Step 5 - Add Delay and Polarity for Array Type
02:41 Compare Cardioid to End-Fire Arrays
03:06 Optional Step 6
00:00 Intro and description
02:15 Soundvision prediction 5 subs forward facing
04:22 40 sub ring
06:05 5 subs with 3 rear subs with no delay
06:54 5 subs with 3 rear subs end-fire
08:45 5 subs with 3 rear subs cardioid
10:08 Adding in full ring in cardioid
13:03 Magnitude of cancellation and real world
13:57 Temperature make a difference
15:59 Dealing with real time adjustment of cancellation
17:50 Photos of show
20:49 Outro
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00:00 Introduction
01:12 Mics are flawed
03:20 Diaphragm mass
06:25 Mics add unrealistic low end
07:56 Demo of subs aux vs subs to L/R
11:31 Dont send inputs to subs that dont need subs
13:18 Outro
Lets build a speaker that radiates sound like an instrument does and see what it sounds like.
"The video creator aims to build a speaker that sounds realistic and replicates how sound travels from an acoustic guitar, rather than the standard stereo sound. The 4D speaker is made of four different speakers that radiate sound from different directions in PVC tubes, delivering a more realistic sound. The builder emphasizes the importance of generating sound in all directions, rather than just left-right stereo sound, which can be achieved using multiple 4D speakers to recreate the sound of different instruments in a band. The builder discusses the possibility of creating a true four-dimensional audio sound by using multiple tracks per speaker, but the biggest challenge would be for musicians to release individual tracks for the various speakers. Despite the challenges, the speaker is excited about pushing audio beyond just surround sound or inward-facing speakers."
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00:00 Introduction
01:51 The parts for the build
02:45 Building a speaker that sound real
05:41 Description of the speaker
08:16 Listening to the 4D speaker
10:48 Listen Conventional speaker
12:01 4D speaker listen
13:01 Radiating sound outward vs inward
14:21 The next level
16:17 Outro
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discusses the use of transformers and capacitors in audio equipment, specifically for signal flow and frequency response. Transformers can change voltage-to-current ratios and attenuate signal voltage, while capacitors can block phantom power and DC voltage. Both transformers and capacitors can effectively block DC signals in the audio signal chain, although when overloaded, transformers can saturate and distort the trace, while capacitors exhibit little change in frequency response. The video presents a comparison between transformers and capacitors in handling high-level signals and their varying frequency responses. Overall, it provides an interesting analysis of transformers and capacitors in DC blocking and overload scenarios.
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00:00 Introduction
01:33 Smaart
01:58 Radial Twin ISO - Level and Phase
03:08 Radial JS3
03:39 Whirlwind ISO2
04:24 Cinemag CMMS-3
04:48 DC blocking capacitors
06:15 Phantom blocking
07:22 Higher level signals
10:07 Summary and outro
But if you just want or need to derive a decent audio file from your camera, here are some settings and a listen to the differences. Also I dive into the 3 mics on a GoPro Hero5 and what makes up the wav file.
The video discusses how to improve audio quality when using a GoPro camera without an external microphone. Various audio settings, including stereo, wind, and protune, are tested and compared, with a focus on gaining up tracks and identifying the camera's three microphones. The video also offers suggestions for improving audio quality and experimenting with the raw audio tracks. By demonstrating the audio tracks in different environments and with different equipment, the video provides useful guidance for those seeking better audio quality from their GoPro camera.
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00:00 Introduction
01:40 How I will test
03:59 Compare settings
12:05 The three mics
16:50 Case vs no case
18:33 Wav vs Video audio
Why would you not want separate control over the subs?
Its not hard, its just smart.
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With sound we strive to ignore and eliminate reflections and with light we strive to create and focus on the reflections.
The video discusses the differences between direct sound and reflected light. Sound energy bounces and reflects before reaching us, which makes it difficult for stereo sound systems to reproduce sounds accurately. The video also examines the human sensory experience and suggests that our sensory evolution and development are directly correlated to the sounds we can create. The speakers consider the possibility of extending our sensory experiences through technology and research, and also explore what constitutes hearing, including bone conduction and brain stimulation. The concept of how energy sources and energy reflections play a role in our lives is also discussed.
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00:00 Introduction
01:17 Sound sources are energy sources
02:45 Sound is like a field of sprinklers
04:05 Reflected light info
05:01 Direct sound info
05:35 Direct light info
06:18 Frequency receptors and reflections
07:49 Multiple sources
09:28 Recreate campfire using a flashlight
10:46 Gathering around energy sources
11:59 Sensitivity to freq ranges
15:48 Hearing not with ears
17:34 Outro
In this video Sammy I chat more about audio panning and perception and dive into more demos and combine differing techniques.
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00:00 Introduction
00:52 Applying panning and to live sound
02:04 Speech pathology and live sound
06:36 Mono, delay and compression with drums
07:22 Polarity reverse one side
09:39 Combining delay, EQ and compression
11:45 Regular panning
13:56 More on panning!!
15:54 Perception chat
18:30 Outro
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00:00 Introduction
00:18 Sammy Studies
02:33 Sammy Tour and Audio
03:44 Panning
06:53 Level Panning
08:17 Haas (delay) Panning
13:41 Using EQ to Shift the Image
15:47 Compassion to Pan
17:48 Outro
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00:00 Introduction
00:45 Vortex (Orgasmatron) Setup
05:30 Endfire ARC or Fan Setup
10:43 Overview
11:29 Outro and upcoming
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00:00 Introduction
00:44 Splayed line of 8 Subs
02:08 Splayed and delayed 8 subs
03:57 Splayed and delayed cardioid subs
05:06 Physical arc of 8 subs
06:57 Physical arc of 8 cardioid subs
08:01 Spaced line of subs arc delay
10:29 delayed arc vs physical arc
12:14 4 subs per side spaced arc
14:38 2 X 2 end-fire array per side
19:11 Conventional + end-fire combo array
24:46 Upcoming in video 3
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00:00 Introduction
00:44 Sub Arrays vs Frequency
04:30 One Sub
07:07 One sub per side or flown line array
08:42 Cancellation nodes
13:37 4 wide subs per side
16:07 Side coverage issues
16:53 8 subs across the front
18:33 upcoming Sub Vids
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00:00 Intro and setup config
00:49 The sound of the actual transformers
01:37 Transformers magnetism and sound
02:08 What transformers do to the sound of mics
03:29 Better with or without transformers
04:24 Test Neumann U89 with Radial JS3
05:53 Test Neumann U89 with Whirlwind ISO2
06:32 Test Neumann U89 with Radial Twin ISO
07:05 Test Neumann U89 with Crimson 1 in 2 out
07:44 Condenser vs dynamic mics w transformers splits
08:27 Test Audix om7 with Radial JS3
10:09 Test Audix om7 with Radial Twin ISO
11:22 Test Audix om7 with Whirlwind ISO2
12:41 Test Audix om7 with Radial JS3
13:15 Test Audix om7 with Cinemag CMMS-2
14:06 Test Audix om7 with Rapco 600 ohm inline Iso
14:50 Summary and outro
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00:00 Intro and recap part 1
00:39 Test setup
02:40 Why do transformers change mic sound?
03:27 Beta58 with and without ISO2 connected
04:24 Beta58 with and without JS3 connected
06:01 Beta58 with and without Cinemag CMMS2 connected
06:43 Beta58 with and without Crimson connected
07:59 Listen to Radial Twin ISO vs direct
09:42 Listen to Whirlwind ISO2 vs direct
10:29 Listen to Radial JS3 vs direct
11:22 Listen to Cinemag CMMS2 vs direct
11:50 Null transformer with direct and see differences
13:18 Royer 122 ribbon mic with JS3, ISO and Twin ISO vs direct
16:04 Summary of impacts on sound
17:18 The reason I avoid transformer splits
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00:00 Introduction
00:54 Transformer Specs Radial JS3, Twin ISO Whirlwind ISO2
02:14 Crimson, Cinemag and Lundahl
02:48 Do transformers hurt the sound?
04:16 The test setup
06:35 Baseline curve with Audix TR40 mic and hardwire split
08:41 Compare Audix TR40 into 1 vs 2 console channels hardwire
09:48 Impact of Whirlwind ISO2 connected to TR40 mic
11:20 Transformer alters sound of mic everywhere
12:35 impact of Radial JS3 connected to TR40 mic
13:53 Impact of Whirlwind ISO2 connected to Beta58
15:52 impact of Radial JS3 connected to TR40 mic
16:38 Outro
Lets see how these super cool audio testers are made.
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I will test to see which makes more noise with a speaker, which lights and LED brighter, can melt small wires, is louder when connected to a mic and which tastes the best.
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00:00 Introduction
00:59 What is Phantom
01:27 USB Power
01:55 9 volt battery
02:07 LED Test
04:44 Touch Test
05:22 Speaker Test
08:06 Wire Short
10:47 Wired Wrong Into a Mic
13:07 Eye and Lick Test
15:35 Summary


