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1. 70's Drums

70's Drums

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2. Steinway — Rode NT1

Steinway — Rode  NT1

A comparison between the Aston Origin and Rode NT1 microphones on a Steinway grand piano. Filmed and recorded at the Wendouree Centre for Performing Arts. No EQ/processing has been applied to these tracks.

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3. Clarett 8Pre Drums — without AIR

Clarett 8Pre Drums — without AIR

A four-mic drum recording through the Clarett 8Pre built-in preamps with the AIR feature disabled.

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4. Gagadre Lo Fiji String Band

Gagadre Lo Fiji String Band

Andy Stewart can't help himself. While on holidays in Fiji he came across a local band – you guessed it. Out came the stereo recorder and this is some of the results.

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5. Sum Mix 2 - Molly's Jazz

Sum Mix 2 - Molly's Jazz

SSL Sigma Summing Review shootout (Issue 110) Greg Walker: I chose a more open, acoustic jazz piece and a busy pop song to give some contrast. The songs are 'Molly's Jazz' (featuring singer Maryanne Plenkovitch) and 'Doom Boogie Ticket' by Machine Translations. Both tracks were recorded and and mixed at broadcast standard 24-bit/48k resolution and there are short gaps between each of the four source mixes. The order of mix samples is as follows: - Straight digital - Phoenix Nicerizer 0dB gain - Phoenix Nicerizer +8dB gain - SSL Sigma You can also download individual versions of each summed output for your own double blind test party on the weekend.

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6. Dialogue Zoom F8

Dialogue Zoom F8

These comparison files are taken from one dialogue recording and two piano recordings, all made with Y splits into the Zoom F8 and another recording device. The gains for each pair of files have been matched as closely as possible. No filtering, EQ or other processing has been applied to any of these files. The files named ‘Dialogue Sound Devices 702t’ and ‘Dialogue Zoom F8’ are mono files from the same reading. The microphone was an industry standard Sennheiser 416 shotgun microphone, Y split into the Sound Devices 702t and the Zoom F8 and recorded to both devices simultaneously at 48k 24-bit. The files named ‘Piano 1 Nagra 7’ and ‘Piano 1 Zoom F8’ are stereo files of a piano performance. The piano was miked with a matched pair of DPA 4041 large diaphragm omnidirectional microphones running through Y splits into the Zoom F8 and the Nagra 7 and recorded to both devices simultaneously at 44.1k 24-bit. The files named ‘Piano 2 Apogee Quartet’ and ‘Piano 2 Zoom F8’ are stereo files from a second performance of the same piece of music. The signal from the microphones was Y split into the Zoom F8 and the Apogee Quartet and recorded to both devices simultaneously at 44.1k 24-bit. The DPA 4041s were chosen for the piano recordings due to their very low self- noise of 8dBA, allowing the noise of the microphone preamps to be more discernable. The piano composition is a work in progress, composed and performed by Jesse Dempsey Watt. Copyright © 2015 Jesse Dempsey Watt. All rights reserved. www.jessedempsey.com

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7. H6 Vox

H6 Vox

Hearing the difference in noise specs between a Zoom H6 and H4n portable recorders when recording voice with a Shure omnidirectional handheld microphone.

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8. Symphony

Symphony

Shootout between the Apogee Symphony I/O Mk II and the Focusrite Saffire Pro 40. Five acoustic guitar tracks were multi-tracked into parallel Pro Tools systems, split by Y-cables into both units. No EQ/compression/processing has been applied to the tracks — only basic level adjustments. Click download for hi-res 24-bit/96k file.

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9. H4n Vox

H4n Vox

Hearing the difference in noise specs between a Zoom H6 and H4n portable recorders when recording voice with a Shure omnidirectional handheld microphone.

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10. Piano & Drums - Symphony Mk II

Piano & Drums - Symphony Mk II

Shootout between the Apogee Symphony I/O Mk II and the Avid HD I/O professional converters. Drums and upright piano tracks were recorded into parallel Pro Tools systems, split by Y-cables into both units. No EQ/compression/processing has been applied to the tracks — only basic level adjustments. Click download for hi-res 24-bit/96k file.

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11. Gareth Esson Single Bed - Vox - FG - 251 (100%) FG - 76 (0% Drive)

Gareth Esson Single Bed - Vox - FG - 251 (100%) FG - 76 (0% Drive)

52 audio comparison files for Single Bed. They include the completely unprocessed VMS, 48 iterations of VMS microphone and preamp combinations with varying levels of intensity and drive, plus the Soundelux for reference. For the full review, click here: http://www.audiotechnology.com.au/wp/index.php/slate-digital-virtual-microphone-system/

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12. Gareth Esson Single Bed - AcouGTR - FG - 800 (150%) FG - 73 (50% Drive)

Gareth Esson Single Bed - AcouGTR - FG - 800 (150%) FG - 73 (50% Drive)

52 audio comparison files for Single Bed. They include the completely unprocessed VMS, 48 iterations of VMS microphone and preamp combinations with varying levels of intensity and drive, plus the Soundelux for reference. For the full review, click here: http://www.audiotechnology.com.au/wp/index.php/slate-digital-virtual-microphone-system/

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15. Piano 2 Zoom F8

Piano 2 Zoom F8

These comparison files are taken from one dialogue recording and two piano recordings, all made with Y splits into the Zoom F8 and another recording device. The gains for each pair of files have been matched as closely as possible. No filtering, EQ or other processing has been applied to any of these files. The files named ‘Dialogue Sound Devices 702t’ and ‘Dialogue Zoom F8’ are mono files from the same reading. The microphone was an industry standard Sennheiser 416 shotgun microphone, Y split into the Sound Devices 702t and the Zoom F8 and recorded to both devices simultaneously at 48k 24-bit. The files named ‘Piano 1 Nagra 7’ and ‘Piano 1 Zoom F8’ are stereo files of a piano performance. The piano was miked with a matched pair of DPA 4041 large diaphragm omnidirectional microphones running through Y splits into the Zoom F8 and the Nagra 7 and recorded to both devices simultaneously at 44.1k 24-bit. The files named ‘Piano 2 Apogee Quartet’ and ‘Piano 2 Zoom F8’ are stereo files from a second performance of the same piece of music. The signal from the microphones was Y split into the Zoom F8 and the Apogee Quartet and recorded to both devices simultaneously at 44.1k 24-bit. The DPA 4041s were chosen for the piano recordings due to their very low self- noise of 8dBA, allowing the noise of the microphone preamps to be more discernable. The piano composition is a work in progress, composed and performed by Jesse Dempsey Watt. Copyright © 2015 Jesse Dempsey Watt. All rights reserved. www.jessedempsey.com

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16. Piano 1 Nagra 7

Piano 1 Nagra 7

These comparison files are taken from one dialogue recording and two piano recordings, all made with Y splits into the Zoom F8 and another recording device. The gains for each pair of files have been matched as closely as possible. No filtering, EQ or other processing has been applied to any of these files. The files named ‘Dialogue Sound Devices 702t’ and ‘Dialogue Zoom F8’ are mono files from the same reading. The microphone was an industry standard Sennheiser 416 shotgun microphone, Y split into the Sound Devices 702t and the Zoom F8 and recorded to both devices simultaneously at 48k 24-bit. The files named ‘Piano 1 Nagra 7’ and ‘Piano 1 Zoom F8’ are stereo files of a piano performance. The piano was miked with a matched pair of DPA 4041 large diaphragm omnidirectional microphones running through Y splits into the Zoom F8 and the Nagra 7 and recorded to both devices simultaneously at 44.1k 24-bit. The files named ‘Piano 2 Apogee Quartet’ and ‘Piano 2 Zoom F8’ are stereo files from a second performance of the same piece of music. The signal from the microphones was Y split into the Zoom F8 and the Apogee Quartet and recorded to both devices simultaneously at 44.1k 24-bit. The DPA 4041s were chosen for the piano recordings due to their very low self- noise of 8dBA, allowing the noise of the microphone preamps to be more discernable. The piano composition is a work in progress, composed and performed by Jesse Dempsey Watt. Copyright © 2015 Jesse Dempsey Watt. All rights reserved. www.jessedempsey.com

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17. Southern Rain

Southern Rain

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20. Gareth Esson Single Bed - Vox - FG - 800 (150%) FG - 73 (0% Drive)

Gareth Esson Single Bed - Vox - FG - 800 (150%) FG - 73 (0% Drive)

52 audio comparison files for Single Bed. They include the completely unprocessed VMS, 48 iterations of VMS microphone and preamp combinations with varying levels of intensity and drive, plus the Soundelux for reference. For the full review, click here: http://www.audiotechnology.com.au/wp/index.php/slate-digital-virtual-microphone-system/

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