Genex / Count Basie Orchestra DSD-Surround demo

hollywood_steve · 12th May 2003

Anybody here going to the presentation of the live DSD surround recording of the Count Basie Orchestra, presented by Genex, tomorrow night? I'm curious if anybody knows any more about what to expect. I heard that there was something similar in NYC a few weeks ago, but I didn't get any details so I'm not sure if it was even related to tomorrow's demo. I wonder if there will be any PCM vs DSD playback comparisons?

steve
lex125@pacbell.net

Jules · 13th May 2003

Wow!

Sounds very interesting!

e-cue · 13th May 2003

Wasn't there a write up on this in Pro Sound News or something???

agentthumb · 13th May 2003

Ive worked with these guys a couple of times...The recording was amazing. Check out the demo if it hasnt already happened yet. The main LCR stands were populated each with an M150, MKH800, MKH40, and a TLM170. A KU100 dummy head was in the house as a surround mic. I believe at the demo they will be switching between the mic arrays during playback. Really high end stuff.

**Remoteness** · 18th May 2003

Steve,

How was the demo?

hollywood_steve · 19th May 2003

The demo was held in the main studio at Cello, that was a thrill by itself. They had a surround playback system set up in the middle of the room, but it only seated about 20 people. The 60 or so folks who attended were rotated through the demo in shifts.

There was no PCM vs DSD showdown, the playback consisted of two variations of mics; the Sennheisers and the Neumann M150s.

From my perspective, as a customer awaiting delivery of his GX9000, I was happy to finally see a GX9000 up close and from the rear (there are NO photos of the rear panel of the machines on the Genex website or brochures.) Seeing the rear panel finally allowed me to understand how the coverter cards and I/O transition panels all fit together.

Commenting on the sound in that kind of situation wouldn't be too meaningful. It wasn't an opportunity for critical listening, and the setting made everything sound good. (the Basie band is amazing, the room sounds great, the system was the best gear I have ever seen assembled in one room, etc.) But Neumann is supposed to issue a CD/SACD from the even that should prove very interesting listening.

I'm just very glad that I will be receiving my recorder within the next week or so. My biggest concern right now is how to effectively market this new toy to potential clients. Sitting in one of Bill Putnam's old rooms for the demo gave me an idea. The same way that Putnam recorded sessions in stereo even when the labels were only paying for mono, he was then able to offer hundreds of hours of stereo recordings to desperate labels when stereo became popular. I'm thinking that some clients might like the idea of tracking to DSD as a way to have a Hi-Res archive of material, even if current releases are still 16/44 CDs. Regardless of today's release formats, shouldn't artists insist that they are recorded at the absolute highest quality standards possible?

steve
lex125@pacbell.net

12th May 2003	#1
hollywood_steve Lives for gear Joined: Jun 2002 Location: uh..... Hollywood Posts: 1,242 Thread Starter	Genex / Count Basie Orchestra DSD-Surround demo Anybody here going to the presentation of the live DSD surround recording of the Count Basie Orchestra, presented by Genex, tomorrow night? I'm curious if anybody knows any more about what to expect. I heard that there was something similar in NYC a few weeks ago, but I didn't get any details so I'm not sure if it was even related to tomorrow's demo. I wonder if there will be any PCM vs DSD playback comparisons? steve lex125@pacbell.net

13th May 2003	#4
agentthumb Gear Head Joined: Jun 2002 Location: Northern California Posts: 31	Ive worked with these guys a couple of times...The recording was amazing. Check out the demo if it hasnt already happened yet. The main LCR stands were populated each with an M150, MKH800, MKH40, and a TLM170. A KU100 dummy head was in the house as a surround mic. I believe at the demo they will be switching between the mic arrays during playback. Really high end stuff. __________________ http://www.ummu.umich.edu/facilities/audio/index.html

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13th May 2003	#2
Jules Gearslutz.com admin Joined: Apr 2002 Location: A Yank in London, UK Posts: 17,808 1 Review written	Wow! Sounds very interesting!

13th May 2003	#3
e-cue Lives for gear Joined: Jun 2002 Location: Lost Angeles Posts: 4,069	Wasn't there a write up on this in Pro Sound News or something???

18th May 2003	#5
Remoteness Super Moderator Joined: Aug 2002 Location: NYC Posts: 7,405	Steve, How was the demo?

19th May 2003	#6
hollywood_steve Lives for gear Joined: Jun 2002 Location: uh..... Hollywood Posts: 1,242 Thread Starter	The demo was held in the main studio at Cello, that was a thrill by itself. They had a surround playback system set up in the middle of the room, but it only seated about 20 people. The 60 or so folks who attended were rotated through the demo in shifts. There was no PCM vs DSD showdown, the playback consisted of two variations of mics; the Sennheisers and the Neumann M150s. From my perspective, as a customer awaiting delivery of his GX9000, I was happy to finally see a GX9000 up close and from the rear (there are NO photos of the rear panel of the machines on the Genex website or brochures.) Seeing the rear panel finally allowed me to understand how the coverter cards and I/O transition panels all fit together. Commenting on the sound in that kind of situation wouldn't be too meaningful. It wasn't an opportunity for critical listening, and the setting made everything sound good. (the Basie band is amazing, the room sounds great, the system was the best gear I have ever seen assembled in one room, etc.) But Neumann is supposed to issue a CD/SACD from the even that should prove very interesting listening. I'm just very glad that I will be receiving my recorder within the next week or so. My biggest concern right now is how to effectively market this new toy to potential clients. Sitting in one of Bill Putnam's old rooms for the demo gave me an idea. The same way that Putnam recorded sessions in stereo even when the labels were only paying for mono, he was then able to offer hundreds of hours of stereo recordings to desperate labels when stereo became popular. I'm thinking that some clients might like the idea of tracking to DSD as a way to have a Hi-Res archive of material, even if current releases are still 16/44 CDs. Regardless of today's release formats, shouldn't artists insist that they are recorded at the absolute highest quality standards possible? steve lex125@pacbell.net