16-Feb-2016, 13:46
Well I am a "mastering engineer", though an amateur one and have made many recordings over the last 50 years.
My aural memory is not long term though so, in terms of knowing what the recording session sounded like I found that comparing the microphone feed to the recorder output was the most informative.
It is also the case that what we actually like the sound of isn't necessarily high fidelity to the input.
I massively enjoyed Apogee Diva loudspeakers for many years, as long as I wasn't playing one of my own recordings... When I did, the fact that it added a lot of my listening room acoustics bothered me, whereas with other peoples recordings the extra apparent stereo was most enjoyable.
Once one has made one's own recordings the real importance of the various links in the chain is much clearer than if one has not.
My aural memory is not long term though so, in terms of knowing what the recording session sounded like I found that comparing the microphone feed to the recorder output was the most informative.
It is also the case that what we actually like the sound of isn't necessarily high fidelity to the input.
I massively enjoyed Apogee Diva loudspeakers for many years, as long as I wasn't playing one of my own recordings... When I did, the fact that it added a lot of my listening room acoustics bothered me, whereas with other peoples recordings the extra apparent stereo was most enjoyable.
Once one has made one's own recordings the real importance of the various links in the chain is much clearer than if one has not.
Devialet Original d'Atelier 44 Core, Job Pre/225, Goldmund PH2, Goldmund Reference/T3f /Ortofon A90, Goldmund Mimesis 36+ & Chord Blu, iMac/Air, Lynx Theta, Tune Audio Anima, Goldmund Epilog 1&2, REL Studio. Dialog, Silver Phantoms, Branch stands, copper cables (mainly).
Oxfordshire
