Audio/Acoustical Experiments
SPL MixDream XP & UA 2-610 vs APB ProRack H1020 -- 2010
A summing amp comparison is performed using SPL MixDream XP and APB ProRack H1020. Please note:
1. Level is calibrated using sine wave and ear. Level adjustment may need to be done.
2. Several tracks require mono summing. There are three different mono summing conditions:
a. SPL MixDream Mono summing.
b. APB mono strip is set to mono by positioning panpot in the middle.
c. APB stereo strip is set to mono by the mono button.
Due to different mono summing functions, you will hear several inconsistency for the mono signal such as, kick, bass, vocal, etc.
Routing: DAW -- Fireface 400 and Aphex 141 -- SPL MixDream XP or APB H1020 -- SSL G (bypassed) --
HEDD192 -- Fireface 400 digital input.
Please download: A, B, C, D and pictures: 1, 2, 3.
Several recordings are also made using 421 on guitar and Royer 121 on bass&vocal.
APB preamp and UA 2-610 are used with Fireface 400 A/D.
Please download the zip file comparison (44Mb, 9 wave files).
Preamp recording is performed in Super Cave studio, South Philly, engineered by Novi Effendi.
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Why do they sound like that? -- 2009
You will find several measurements of the following gears I own, listed below:
1. RME Fireface 400 D/A
2. Aphex 141 D/A
3. UA 2-1176 Compressor
4. SSL XLogic G Compressor
5. SPL MixDream XP
This measurement/article is taken for my own learning experience to study why these gears sound like 'that'.
Download article.
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Cakewalk SONAR 8 Improves Its Summing Algorithm! -- 2009
Please download: mixcomp2.zip (45Mb, 3 wave files)
Following up my digital summing comparison using RME Fireface 400 ASIO driver and Cakewalk SONAR 5
(dated: 2008, please scroll down), I just upgraded my SONAR 5 to SONAR 8 and found out if the digital summing
algorithm has improved A LOT! In the zip file, you will find three files:
1. SONAR summing and mixdown, which uses SONAR's Master bus and mixdown (file - export - audio).
2. SONAR summing only, which routes the Master bus output to my HEDD 192, and back to Fireface 400 without
any added coloration. Later the mixdown file is taken straight from the project audio cache folder
(bypassing SONAR's mixdown process).
3. FF400 summing, which routes all buses/tracks to Fireface ASIO outputs (1-16). Digital summing takes
place in RME FF400 DSP (using the matrix in the mixer). The stereo ASIO bus used for the summing
is routed to HEDD 192 (no added coloration) and back to Fireface 400 SPDIF in.The mixdown track is
later taken straight from the project cache folder (bypassing SONAR's mixdown process).
Credits:
Composer: Ulf Anneken
This file is a rough mix of the rock fugue project which was done in 2006.
RME Fireface 400 is clocked to Antelope OCX.
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Diffusers "Recording" Comparison and Experimental Polar Measurement -- 2009
Please download: Diffuser Comparison.zip (42Mb, 5 wave files, 2 jpeg files)
This experiment demonstrates different sound of diffusers in Super Cave studio. Information on the studio can
be found here: Super Cave Rehearsal and Recording Studio.
Additionally, one of the primitive root diffuser is further measured in this room. An experimental polar measurement was
conducted several weeks after the recording session. Data can be found here: PRD13 Polar.
Notes:
1. Musical performance and audio recording are not processed with any EQ or compressors. Adjustment is
performed using HEDD 192 and TC Finalizer Express with same settings to increase the level.
2. Three different diffusers are compared in this recording, one QRD and two PRD.
3. The prediction algorithm in the polar experiment article is a simple math function which may not be accurate.
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Comparing SPDIF cable (Hosa vs Apogee) -- 2008
Please download: hosavsapogee.zip (18.5Mb, 3 wave files)
Referensi.wav -- original file, edited in Wavelab 6
Hosa.wav & Apogee.wav -- recorded wave file using Fireface 400 SPDIF I/O, clocked to HEDD 192
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Bypassing Cakewalk SONAR 5's "sound" and using Fireface 400 digital summing -- 2008
- Comparing SONAR's digital summing vs Fireface 400 digital summing.
- May 2008
Please download: mixcomp1.zip (45Mb, 3 wave files and 1 txt file).
Wave file #1: Mixing in-the-box using SONAR.
* Digital summing and rendering/mixdown are handled by SONAR.
Wave file #2: Mixing in-the-box using SONAR, bypassing SONAR's mixdown process (File - Exports).
* SONAR's digital summing - Master bus to Fireface 400 spdif out - HEDD 192 coloration -
Fireface 400 spdif in - Record in SONAR.
* The recorded mixdown is later taken from SONAR's temporary audio folder (bypassing
SONAR's mixdown process).
Wave file #3: Mixing in-the-box using SONAR, bypassing SONAR's digital summing and rendering/mixdown.
* No master bus is used in this process.
* All tracks are bussed to 4 stereo master buses. These master busses are routed to Fireface 400 output 1-8,
'Matrixing'/bussing Fireface 400 out 1-8 to spdif out (digital summing is handled by Fireface 400 DSP),
Fireface 400 spdif out - HEDD 192 coloration - Fireface 400 spdif in - Record in SONAR.
* The recorded mixdown is later taken from SONAR's temporary audio folder (bypassing
SONAR's mixdown process).
Notes:
1. No changes are performed in the mix during the mixdown process.
2. HEDD 192 coloration remains at the same settings during the mixdown process.
Credits:
Composer: Willy Haryadi.
Mixing Engineer: Hadi Sumoro.
Gear used: Cakewalk SONAR 5, UAD-1, RME Fireface 400 clocked to HEDD 192, Cranesong HEDD 192, Sennheiser HD600.
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