Weird.
There is a "hidden" AC3 stream there, but it should not be accessible as there is a Pre-Command forcing DTS....
Hmmm
My Oppo defaults to the AC3 stream also. Thought it was odd as the menu says "DTS only"
Weird.
There is a "hidden" AC3 stream there, but it should not be accessible as there is a Pre-Command forcing DTS....
Hmmm
My Oppo defaults to the AC3 stream also. Thought it was odd as the menu says "DTS only"
FYI - On my Pioneer it IS defaulting to dts!!! You can still select Dolby via the audio button - its not hidden..I get the Dullby also (by default) on my Oppo - I'll have to test this on my Pioneer player.
Weird.
There is a "hidden" AC3 stream there, but it should not be accessible as there is a Pre-Command forcing DTS....
Hmmm
FYI - On my Pioneer it IS defaulting to dts!!! You can still select Dolby via the audio button - its not hidden..
Hey , guys..who do I have to send a "sad puppy eyes" request to so that Fripp and the gang could reconsider TWO more titles to be remixed in 5.1???
1- the (criminally and unbelievably) overlooked "The Construktion of Light"!!!
"Dear Mr. Fripp: WHAT THE HELL WERE YOU THINKING WHEN YOU DIDN'T INCLUDE IT IN THE LIST?????? I MEAN -WHAT IN HADES WERE YOU SMOKIN?????!!!!
erm, I mean....
"Dear Mr. Fripp..would PRETTY PLEASE reconsider doing a 5.1 mix of TCOL????"
TCOL, as a studio album, doesn't convey the power of the music, to a greater extent than any of the KC studio albums, IMO. David Singleton and myself listened to the multi-tracks at DGM a little while ago, and came to the view that we could not significantly improve the album from the source recordings - ADATs. The band weren't able to tour the music live before recording, always my preference, particularly with a new configuration (the Double Trio had become the Double Duo); Pat was on electronic drums when he would have preferred to use a mix with acoustic traps; much of my attention was on writing and playing, rather than recording and production. So, subjective opinion and generalising: the music, yes; the recording and cover, no.
We have discussed re-assembling the album to include live recordings of the pieces. Something like, The reConstruKction of Light. This is one of our discussion plans for a possible future, if litigation and dissent leave our DGM lives.
I finally received this today. It seems to take anywhere from 3 to 5 weeks to get anything from Burning Shed now, instead of one week previously.
I am finding the same. Mail is very slow from Burning Shed. I just received mine late last week. I blame it on Canada Post. However, I receive items from China faster than from Burning Shed which is hard to explain.
Well, kap'n.....Mr Fripp has addressed that issue in his diary....guessing you are not going to like his response:
ADATS???? then the DVD-A would have to be 48/24 at most...oh well...still, a surround version would still be cool, it's a VERY complex album , but it's HIS baby.....
Not necessarily, asyou can always SRC to 96 for the remix - which will still be carried out in a floating point mixer at high resolution, so will be a true 96k file.
Neil I'm sure will have a better way of explaining this, but my own personal experience from remixing material in stereo/surround orig recorded at 48/16 (Tascam DA-88s in my case) was that you set up your project at 96/24, import all the tracks, and yes, these will be upsampled to the session rate (96/24). But here's where you get the benefit...now, all your fader moves, EQ, panning, reverb/effects, etc. will be in a 96/24 environment, and when you bounce to disk or create your final stereo or M/C master, the resultant file is a bonafide 96/24 file with all its benefits.Interesting, I thought that the resolution couldn't be increased once they were recorded that way (unless you "cheated", with harmonic exciters)...how , then can it be increased just by sampling it a higher rate?
Just curious..could you explain, even briefly , please?
(Do you upsample the files to 96 and then mix at that resolution?...)
one of your biggest admirers,
G
Neil I'm sure will have a better way of explaining this, but my own personal experience from remixing material in stereo/surround orig recorded at 48/16 (Tascam DA-88s in my case) was that you set up your project at 96/24, import all the tracks, and yes, these will be upsampled to the session rate (96/24). But here's where you get the benefit...now, all your fader moves, EQ, panning, reverb/effects, etc. will be in a 96/24 environment, and when you bounce to disk or create your final stereo or M/C master, the resultant file is a bonafide 96/24 file with all its benefits.
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