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Old 19th May 2003
  #6
Lives for gear
 
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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
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