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Old 24th September 2013
  #50
Quote:
Originally Posted by Rumi View Post
The question was about how to make it possible to level match them for playback. Since slew rate, frequency response etc. have an effect, peak matching or even adjusting phase-reversed files for minimal low frequencies might be not close enough.

Maybe taking the same peak level for pink noise over 20 seconds or so will do? Or white noise?

The other point is "sweet spots". The API for example is said to sound different with different gain. But if you go into that, you will possibly end up with too many variables to compare. I don't plan to spend the rest of my life comparing mic pres.
Oh, I misunderstood. I usually do RMS matching over short intervals of the actual program material (musical content). Pink noise is pretty much static, so it's not going to be representative of dynamic content. Preamps and other equipment react differently to changes in level, and pink/white noise is not going 'challenge' the preamps in this way.

As far as sweet spots, IMO, I would adjust the preamp as you would in real life to take the best advantage of it, then RMS match in post. This will take advantage of each preamps' best attributes since post production techniques like this have much less interaction on the signal by comparison.