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  #16  
Old 06-25-2020, 10:29 AM
jim1960 jim1960 is offline
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Originally Posted by KevWind View Post
You are asking some great questions.

However ( and only in a general sense) while it is true that everything in the signal path does matter (or as some might say only as good as the weakest link)

It is also true that with todays electronics and digital software, that for a modern "Home Recording" there is also a "general relative consecutive numerical list" (for lake of a better phrase) of probable importance for consideration.

While there could be some specific situational exceptions, but in general The relative importance list goes "roughly" like this, and more or less follows the actual signal path (and of course after considering the guitar and guitarist.)



#1 The room acoustics and its relation to the recording position, and the mic placement. (BTW the room is often by far the "weakest link" in most home recording situations )

#2 The quality of mic > and pre/s

# 3 If you're using out board analog processing on the in for recording i.e. the quality of the comp, eq , and or reverb. (Which I tend to not do, I basically record raw = unprocessed) .

#4 the quality of outboard processing units for mixing (Which do use a comp and a reverb)

Then we get to things which are ultimately can be a factor BUT (because of advances in modern digital electronics and software) are arguably much less important, and the least likely to have a dramatic or easily noticeable effect.

The quality of interface components and converters ,,,,, while it is true the better the components and converters, the better quality of sound..... BUT it is a fairly subtle difference at most. Today even the entry level "Pro-sumer" interfaces have quite usable conversion. As far as the actual circuity ? again given modern assembly consistency techniques, I would rate it fairly low in being a noticeable factor in sound.

And IMO the least important, to almost not important (as far as sound) is the software like the particular "Drivers" and the DAW algorithms. In fact in null test ,after test, after test, of DAW audio engines (no plugins) they all basically cancel
The difference in DAWs is about workflow not "sound of audio engine"
That's some great advice from KevWind. I'd add one thing...
While it's not actually part of the recording chain, quality monitors are essential for quality output. You're going to be making editing and sound sculpting decisions based on what you hear from your monitors. It they're not giving you accurate information, your results will reflect that.
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2023 Iris ND-200 maple/adi
2017 Circle Strings 00 bastogne walnut/sinker redwood
2015 Circle Strings Parlor shedua/western red cedar
2009 Bamburg JSB Signature Baritone macassar ebony/carpathian spruce
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1988 Martin D-16 mahogany/sitka spruce

along with some electrics, zouks, dulcimers, and banjos.

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  #17  
Old 06-25-2020, 12:25 PM
Chipotle Chipotle is offline
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Originally Posted by jim1960 View Post
While it's not actually part of the recording chain, quality monitors are essential for quality output. You're going to be making editing and sound sculpting decisions based on what you hear from your monitors. It they're not giving you accurate information, your results will reflect that.
...which brings us full circle to the acoustics of the room you are listening in.

I'll also second Kev's comments that these days, quality of A/D-D/A conversion and pretty much anything that happens once you get to the digital realm is all a wash. The differences--if any--are so small that they are totally swamped by all the other considerations.
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  #18  
Old 06-25-2020, 12:48 PM
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Doug Young Doug Young is offline
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Originally Posted by KevWind View Post

#1 The room acoustics and its relation to the recording position, and the mic placement. (BTW the room is often by far the "weakest link" in most home recording situations )

#2 The quality of mic > and pre/s

# 3 If you're using out board analog processing on the in for recording i.e. the quality of the comp, eq , and or reverb. (Which I tend to not do, I basically record raw = unprocessed) .

#4 the quality of outboard processing units for mixing (Which do use a comp and a reverb)

Then we get to things which are ultimately can be a factor BUT (because of advances in modern digital electronics and software) are arguably much less important, and the least likely to have a dramatic or easily noticeable effect.

The quality of interface components and converters ,,,,, while it is true the better the components and converters, the better quality of sound..... BUT it is a fairly subtle difference at most. Today even the entry level "Pro-sumer" interfaces have quite usable conversion. As far as the actual circuity ? again given modern assembly consistency techniques, I would rate it fairly low in being a noticeable factor in sound.

And IMO the least important, to almost not important (as far as sound) is the software like the particular "Drivers" and the DAW algorithms. In fact in null test ,after test, after test, of DAW audio engines (no plugins) they all basically cancel
The difference in DAWs is about workflow not "sound of audio engine"
+1.

Back when I was first getting into recording, I did some stuff at a nice studio run by Joe Weed, who has recorded albums for Martin Simpson among others, and he told me much the same story. He gave me his "top 10" list for what went into a good recording, which was:

1,2,3: the player
4,5,6: the instrument
7: room acoustics
8: the recording engineer
9: mics
Distant 10th place: all other gear, preamps, a/d's, recorder, etc


That said, if you're down in the minute details of that last few percentage points, one interesting test I ran across a long time back was the Sheffield Disc tests. There's a test for D/A conversion (not A/D, sadly - it's more meant for home theatre setup). I tried it on a pile of converters I had, from my built-in soundblaster card, to an RME fireface, Cranesong HEDD, and a few others. As I recall, the results were about what you'd expect, the Cranesong passed with flying colors, the RME was just a tad behind but still more than fine, and the soundblaster failed embarrassingly badly. That was quite a long time back, I imagine built-in soundcards are a lot better now.
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  #19  
Old 06-25-2020, 01:05 PM
DukeX DukeX is offline
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...Stop worrying about line-level degradation (there isn't any), drivers, and software. You will never hear a difference.

I do not even think you need new converters. Seriously, if you can't make great recordings with the converters you already have, you can't make great recordings. Of course, the same could be said for the preamps, but the preamp will make a bigger difference than different converters (yours are plenty good).
Quote:
Originally Posted by KevWind View Post
...Today even the entry level "Pro-sumer" interfaces have quite usable conversion. As far as the actual circuity ? again given modern assembly consistency techniques, I would rate it fairly low in being a noticeable factor in sound.

And IMO the least important, to almost not important (as far as sound) is the software like the particular "Drivers" and the DAW algorithms. In fact in null test ,after test, after test, of DAW audio engines (no plugins) they all basically cancel
The difference in DAWs is about workflow not "sound of audio engine"
Thanks, KevWind, I was starting to think no one agreed with the points I made about converters, audio degradation, drivers, and software.
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