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How did you feel when you first started out?

Discussion in 'Recording' started by Torsten Borg, Nov 13, 2014.

  1. Torsten Borg

    Torsten Borg Active Member


    I've been working on a project for a while, and have interviewed a few engineers/home studio owners about their start in their engineering career. I don't want to sound like i am advertising anything so i'm not going to explain why i interview these people. If somebody want to know, i'll let you know. But i thought, since there's a lot of home studio owners out here, if some of you would be willing of answering 4 questions for me. Your name won't be used anywhere, the way you wrote the answer won't be copied anywhere, it's just for my own use and research.

    Donny, if you think this is inappropriate, please let me know so i can delete this thread (if regular members can do that?). But really, it's just for fun research, and on top of all that i think it would be fun to share stories :) Here's the questions...

    1. Can you remember some frustrating things that happened when you started out? Some complications with the software, sound card or something else that took on your nerves?

    2. What would you have wanted somebody to have told you when you started out? Some mistake that was so unnecessary to go through?

    3. What would you be interested in learning about home studio recording, something new or something you want to get better at?

    4. Something you've learnt on your own, through a mistake or experimenting?

    Thank you,
  2. pcrecord

    pcrecord Don't you want the best recording like I do ? Well-Known Member

    1 : I started out with a peavy mixer in a hallway with mic wires running under a bedroom door. The most frustrating was to realise that you couldn't have 2 soundblaster live in a computer cause the drivers wouldn't allow it. So I discovered I could use a live and a sb16 to have 4 tracks input. This was 20years ago ! I've added gears and upgraded places to record over 8 years before building a real recording room.

    2 : '' come hang out to my pro studio'' would have been nice to hear and do

    3 : Right now, I don't struggle with knowledge, I'm just researching to refine my tools to fit a wide array of needs for different customers.

    4 : Training out ears could only done by our-self. Parallele processing was something I found out years ago nearly by accident on a project (doubling a track and applying a tone of reverb to one track and none to the other, then blend the two was my first experiment)..
  3. DonnyThompson

    DonnyThompson Distinguished Member

    I go back a lot further than you do, so my own experiences differ from yours quite a bit... I started out in '78, which was the age of consoles and tape, which all the others here of my generation - audiokid, Kurt, Boswell, etc - also faced; things like biasing, alignment, calibration (of tape machines, consoles, NR units, etc)... It would be another 15 years before I would have to deal with PCi Card IRQ's, CPU speed, HD size and Memory amounts...

    My entrance into the craft came about from being a musician/songwriter, who couldn't afford to purchase pro studio time to have my songs recorded, so I bought a small Biamp console, a 1/2" Otari 8 track, a couple dbx compressors, and a few effects devices... (actually, my first collection of OB FX devices were guitar pedals - LOL - flange, phase, delay...)

    My first issues were knowledge based; things like EQ, gain reduction, gain structure - basically, all the fundamentals. I studied my ass off, picking up each new issue of Mix as it hit the news stands; and about 80% of the time, I didn't even understand what I was reading. I would read the technical articles, and they wouldn't really clear things up for me - because I was stupid - and 8 times out of 10, those articles left me with more questions than answers.

    Eventually, I was lucky enough to meet a guy who was a pro engineer, who had real album credits, and I understudied with him...he had recently moved from Colorado, (where he had worked as an engineer at Caribou Ranch) to Ohio to work at Audio Technica (AT's headquarters is about 30 min from where I live) and I paid him to teach me everything he could. I saved up money, rented studio time from local pro rooms - mostly at night because the studio rates were 50% less - and we would both sit at the consoles (Neve's, MCI's, Neotek's, Amek's, Harrison's, etc), and he would teach me each function on the desks. Then we would mic things up -like drum kits, guitar amps, vocalists, etc., and record them to tape. He then taught me about processing, everything from GR to Reverb, and I learned more from him in one week than I did in two years of reading those recording articles in Mix Magazine. After that, it was just a matter of me doing it as much as possible. In those early days, I lived, breathed, ate and slept audio.

    It's good to read and study... in fact it's absolutely necessary to study the technical side - but at some point, you have to apply that knowledge, to actually be able to hear for yourself what those various articles talk about. I also feel it's crucial to be able to hear what bad audio sounds like, too - uneven gain structure, mic distortion, bad EQ, too much gain reduction, etc.
    Audio engineering is a science, in that you need to know things like db, voltage, gain structure, input an output levels, impedance, power supplies... but, it's also very application-oriented. At some point, you have to apply what you have previously learned about in written form.

    There are many things I've learned on my own since, sometimes it's something cool that I would add to my bag of tricks, other times, and more often, it was learning what not to do.


  4. Torsten Borg

    Torsten Borg Active Member

    Thank you both for your stories. Donny, i was touched. I love how your career took off, that's awesome.
  5. Torsten Borg

    Torsten Borg Active Member

    As you said, you started out WAY before me. But i still have a little experience with tape machines as i am an audio nerd.

    I realize that cutting, gluing etc. could be a pain in the ass sometimes, but hey, it still sounds AMAZING, at least to my ears.
    The way cymbals sound on tape, oh my.
    And with CLASP, things get even better. We actually recorded my solo album a few years back on tape and then imported that to Pro Tools. I don't like the way i sing on that record but the way the record sounds is amazing.

    There's just something special with being 'physical'. It's like buying a physical album instead of downloading the digital version, it's a completely different, special, experience.

    On tape, digitally, it doesn't matter, i still love the recording experience. I know i have been frustrated 4AM in the morning when i've recorded for the whole night and noticed i've done a big mistake at the source, who cares? I've laughed a bit and went to sleep and learnt from my mistake. Recording is like living the dream. The best part is that you can't learn EVERYTHING, so it always stays exciting. :)
  6. Makzimia

    Makzimia Active Member

    1. Ok, first off I date back to pre use of PCs and cards too. I began in 1975 with a tape recorder first, that was terrible. In 1984 I finally bought a Tascam 244 while living in Sydney. Metal tapes, recorded as Donny did using guitar effects pedals inline, for vocals I also had an Alesis Quadraverb. Plug a mic in and away you go!. Record 3 tracks bounce and so on. The issue fairly quickly with that was loss of quality as you bounced even beyond 9 takes.

    2. I did have the opportunity in the mid 90s to go into a larger project studio, I had been fiddling with what was Twelve tones software cakewalk at the time. Guy had a 24 track tape teac a console and a Atari 1024ST I think. I admit I didn't pay a lot of attention at the time to what else he had, or as time has gone on, I have forgotten some of it, been a busy life. He took me in and showed me some of what he did. I wish he had explained more to me about GR and EQ. I instead did what Donny did initially, Mix Magazine and Sound on Sound etc.

    3. Always learning stuff. I currently am at a point where I am delving deeper into Logic Pro X ( have David N.s book) Also working on learning my Yamaha Motif XF8 better. I have so much gear at this point it takes too much focus away from just recording music. As a songwriter/singer I want to perform, not be a technical geek, and yet, I have no choice. I would love to get someone local to look at my gear and tell me what I can do without, and what to put in place with the new setup.

    4. I have learned to pay attention to where I start, what mic worked, what setting worked. Create and use a template to save time. Make sure those drum mics, if used, are situated correctly in the mix, not just sounding right. Noobie mistake in recent months, didn't reverse the left and right overheads, the result was overheads didn't gel with the bleed. It's always little things that trip you up. Biggest lesson of all, do it more, I have been mired down with SO much moving in 27 years, and the times where I finally get to take a breath is too short. Now I finally have a proper space, I am close to being able to focus properly, at long last.
  7. MadMax

    MadMax Well-Known Member

    From the start of what I'll call my "professional" career...

    Having to walk out on stage in front of 10,000 people to swap a mic cable that's screwing up a performance is best done as quickly and seamlessly as possible. You cannot afford to take any more than 10 seconds at most. You can't just saunter your butt across the deck and interrupt a whole show.

    You save steps by FIRST throwing out the mic cable TO the point where it's needed. Only then you interrupt the stage and take care of business... FAST... and get your ass off that deck.

    Kinda' makes you look like an idiot when you have to untangle a wad of a bird's nest in mid throw.

    Wrapping cables properly... it's my single biggest pet peeve. If you cannot wrap a cable, or if you don't like to wrap cables... go find something else to do.

    You live and die by signal flow. That flow is by cable... You better know as much about them as you can.

    I wish that someone would have kept me from buying into this insanity and told me to stick with quilting, shuffleboard, high priced hookers, sports cars or painting. This is an expensive game to play. You are automatically in "competition" with the guys who have $20 invested, to $20 MILLION invested. (Guess what divides the big boys from the little guys???)

    While anyone can make a recording, there's just no way to make proper recordings of playing musicians without a $*^t ton of good gear and far more hours as seem fathomable just to even get mediocre results.

    If you're happy with mediocre, then fine... be happy. But realize that you're likely to stay at mediocre for the rest of your life. Those are just the odds.

    Think about it... since the advent/milestone of Apple putting garbageband on EVERY computer sold for the last 10 years, the explosion of millions of people creating music has been both wonderful, and vexing... at best.

    The good news is; anyone can make music... the bad news is; anyone can make music.

    At some point, many folks, (myself included) have/had dreams of being the next Elvis or some such star status. But the odds are seriously better for getting hit by lightning than to make a living in the music/audio industry... much less becoming a "star" of any magnitude.

    But if you are a home recordist, who eventually ends up working with other artists and groups to the point that you're prepared to charge these folks good money... then please, don't charge like a professional, nor call yourself a professional. You cheapen the ability for those who are NOT happy with mediocrity to earn a living.

    It's ok to call yourself a budding professional... a hobbyist or even an amateur. It's seriously OK to be honest with your early clients. You're NOT a professional... why would you be charging like one?

    If you are a home recordist, you probably have another source of income. Lets say you work at a manufacturing plant of some sort. How would you appreciate it if someone agreed to perform your job at one tenth of what you make? (Just for the exposure, you know... we'll make more money later as we get better.) Especially when you've been trained and on the job for 5 or 10 years? Then you find out that the person performing your job doesn't even have the proper tools to even do a half assed job, much less the skill and experience to do the job in a timely, if not profitable manner...

    So, you gotta start buckling and lower your wages just to keep the lights on at home.

    And because there are hundreds of other newbies who daily join the ranks of millions who have the stars in their eyes, you get to fight this battle every single day of your existence.

    Every swingin' dick with a computer is now competition for an income source... including your parents, siblings and your children.[END REALITY RANT]

    THAT's the current state of professional audio and video.

    To that end; If you really think you can make a living in this industry, go for it... but realize it comes at a pretty hefty price tag... at best. At worst, you just accept that you are throwing hundreds of thousands of dollars away.

    I'm no longer what I would call a home recordist, so with the question rather open ended and pretty open to interpretation, I'll take a swing from a professional operation's standpoint that grew from a curiosity and a hobby.

    So, while the craft of recording is something to enjoy as a hobby, I seriously question the motivation of the gear manufacturers that flood the marketplace with, albeit amazing quality level - given the bang for the buck, equipment... that promises far more than it's capable of delivering. While given the fact that demand dictates supply, it cheapens the value of the end product if "good enough" becomes the accepted norm.

    It used to be that you really did need to understand the electronics involved in recording, to be able to actually do any recording. That mainstream reality has now changed to meaning very little electronics is necessary, even though there's an entire industry built on the electronics. Recording video and music are now being hyped as requiring nothing more than a basic understanding of a GUI.

    It still doesn't change the fact that there 3 types of music that require their own skills to accurately reproduce.

    In live music recording, human beings, along with all their faults and foibles require a working knowledge of acoustics, music theory, general psychology, kitten herding and physics... at a minimum.

    In synthetic music, one only needs the knowledge of software and buzzwords. Lots of other traits including discipline, imagination and fast motor skills are favored.

    In hybrid, you get the worst of both worlds, and few rewards... but you might end up having fun.

    Either way, there are no shortcuts to being a good engineer. No matter how much your ass occupies chair time in a classroom, no matter how many books you read, forums that you haunt or seminars you attend, actually getting your hands dirty and doing something often enough to know what sux and what doesn't... Well, it just takes time... unless good enough is good enough.

    And moving from a hobby to a profession really does mean you'll probably suk for a good while before you get better... and the gear doesn't really matter. Granted, good $*^t ain't cheap and cheap $*^t ain't always good, but knowledge gets you there a lot better than just expensive gear.

    So, the one thing I always want to get better at, is accepting that there's always a need to get better... Otherwise, I'm stuck with finding a way to be satisfied with not being the best I could be.

    You can't teach experience.
  8. audiokid

    audiokid Staff

    1.) Can you remember some frustrating things that happened when you started out? Some complications with the software, sound card or something else that took on your nerves?

    Life is frustrating. Its never been easy but somehow I keep eating. Performing in shitty sound rooms is really frustrating. And computers are the worst thing man has ever created, but i keep using them and putting people out of business and writing about it with crappy skills.

    My Mom was a Metropolitan Opera singer. The moment I was born I was cursed.
    As soon as I turned 20 I was on the road and never saw home for 18 years. I started out in bands, then started mixing and playing, often both at the same time. I've played in smoky bars to the Sky Dome. In 98 I needed to learn more about mixing so I created a forum called RO.

    After all these years, my last post pretty much sums it up. I have one of the coolest hybrid systems on the planet. I wish this was the 70's again and I had all those years ahead of me to spin talent like Motown did.
    Maybe I'd hope a bunch of guys from RO would join me and we'd take it to the limit.

    The gear that passes through here is cool, what a riot it would be to own this site when the music industry was healthy and vibrant. Today, its karaoke pop and I'm not sure I like all the extra riffs singers put in everything.
    The lack of musicians and the quest of perfection has made music pathetic compared to the last 2 centuries. I don't care about perfect, never have. I like to feel the music. thats what keeps me craving it.
    I have always kept my eye on the current ball, I mean, if you want to earn a living doing this, you keep your ear on the sound of the streets. Music notes are notes. But when you attached notes to distortion people take notice. So, I pay close attention to my audience and try and emulate what we are all feeling. So, its not so much about being perfect, I'm always looking for the attitude in music. This has always kept me pro, I mean, making a living with music.

    2.)What would you have wanted somebody to have told you when you started out? Some mistake that was so unnecessary to go through?

    My kids are talented like me. They are gifted but I'm almost on a destructive path with them because I don't know if I want to see them follow my life. The music business is a terrible disappointment. Why? imagine spending your entire life to be a master at it and none of that really matters. I mean, we need to eat.
    This business really has a lot less of what we all of us are so good at.

    I spent too much time performing cover songs in my early days, when I should have starved and kept writing. I knew it but my parents broke up, my mom became ill and I was tossed out on my own with know one but my guitar on my back. We do what we have to do. Covers kept me alive. I'm glad I listened to that.

    3.) What would you be interested in learning about home studio recording, something new or something you want to get better at?


    I'm super excited about Sequoia and the virtual world. I've always loved technology and emulation. I love emulation so much I was one of Western Canada's top booked techno duos for ten years. Its been fun putting people out of business too.

    4) Something you've learnt on your own, through a mistake or experimenting?
    This is my site and everyone here means the world to me. I hope you all know that. I have an attitude and but my reasons. This was never a hobby for me. Its a way of life, music that is. Its a weird business. My entire life has been an experiment and I seem to make a lot of mistakes, many on purpose. Its fun figuring out the ones to keep.

    How did you feel when you first started out?
    Amazed and super grateful. The day I stood on stage and saw all the people dancing was an amazing moment. And to think, I was being paid to play my guitar. I could finally take care of myself playing a guitar. That was 1978.
  9. paulears

    paulears Well-Known Member

    My first proper recording was for theatre, with Ferrograph r-r, splicing tape and razor blades. Series 7 first, then a Super 7 - then Teac 3340 - which we even did mobile Jazz sessions on. The late 70s had us mastering to ¼" sony Elcaset - which I rather liked. Then we got a Sony F1 Betamax, which was our first digital audio recording system. We stayed with F1 till the late 80s and bought our first DAT machine, and had quite a few as the damn things wore out so fast. Multitrack for us remained with the 3340, and stayed firmly 4 track. 8 track was beyond our budget and client needs. Straight into ADAT in the early90s - then around the same time (1994?) we started Cubase for MIDI on Atari 530s - we then bought a Soundscape system Midstream - with a couple of cards, and had it running 16 channels. We started recording our audio on Cubase once it could do it, and despite a foray into protools, around 2000 or so, stuck with Cubase - mainly because most of our work still involves MIDI. Our archive has a few sundry cassettes, loads of ADAT, lots of DAT and the odd F1 - none of which we can play, and looking at the labels, nothing worthy of transferring. I think most of our busying decisions were, to be honest, a bit random. The trouble we had trying to sync items up never seemed easy. That's our kind of weird path through the machinery. What always annoys me is that our work is usually thrown away when shows are finished. We'll spend maybe two weeks on one play in track, use it for a month, then never go back to it. Ten years worth of shows for one client - all remarkably similar, many a bit technically clever - maybe with synchronised video and multitrack outs, and totally worthless for future use!

    Some great stuff done over the years but we don't ever expect it to be used again. Just one of our products ended up with enough copies out there to reach the very, very low end of the public charts - and that was of course a buy out, making us very little money! We also do theatre archive recordings, usually for the production company - and none of these are ever for public consumption. In fact, I tried to get one back to do something with, and they couldn't even find the stuff in store! A bit like a black hole that our stuff gets dropped into.
  10. DonnyThompson

    DonnyThompson Distinguished Member

    My first midi sequencer was Cakewalk for DOS. LOL

    I had a midi card for my PC - a blazingly fast 386 (I'm joking of course) with 300 MEG of HDD space and 1 meg of ram. The midi card also had a SMPTE sync/generator I/O function, and it actually worked surprisingly well for synchronizing tape deck tracks with the sequencer.

    The sequencer itself was just a simple note on/off technology, there were no internal sounds, I had to send the PC midi commands out to external tone modules and keyboards - stuff like Proteus Modules, an Ensoniq VFX keyboard, and eventually, an Alesis D4 drum module. I synchronized all of it using SMPTE time code ( 30 FND) - "striping" a track of time code on my multi track deck, so when I would start the play / rec button on the tape machine, the sequencer would also start in perfect time.

    I know this all sounds like a joke now, but at the time it worked very well, and I actually managed to create some pretty good music with that rig.

    My first console with automation was a Neotek Elan, which had its own automation computer package.
    No flying faders though...(I wouldn't have that luxury until years later when I bought a pair of Yamaha 02R's, and while the 02R was technologically superior, it didn't sound nearly as nice as the Neotek did.)

    The Elan's automation was all simple VCA -based; faders and switches only, (it could turn the EQ on and off, but it wouldn't write or store where the EQ settings actually were, you had to chart that.) and if you wanted to recall a mix, you loaded the 3.5 disc into the drive, called up and loaded the project you had saved, put your tape at the right song position, then you found the correct fader-start positions by moving them up to position until the "null" light on the fader would come on, and this was your starting point for beginning the mix at the proper position.

    Things have come a long way. And while I've learned much since I first went into digital (kicking and screaming), I learned the most concentrated amount of knowledge in those very early days, when we still had to do a lot of things ourselves, as opposed to now, where much of what we used to do by hand and brain is now done for us by a computer.

    It's very easy to get wrapped up in the "technology" side of recording - sometimes even to the point of putting the artistic side second. It takes a special mind to be able to marry both of these things equally.
    These days, it seems that I "hear" so much more of the technology coming through in songs, but I don't hear as much of the creative side, I don't hear as much of the art of the craft of recording and production.

    IMO of course.

  11. DonnyThompson

    DonnyThompson Distinguished Member

    I wouldn't have any issue with it at all, if it was used as it was intended...

    ...either as a way to have some fun on a hobby-level, or, as a writing, pre-production tool, where a songwriter gets their basic ideas down with it, with the intent of taking the song(s) to a real studio - like Max's - to professionally record and mix it.

    The problem I have with it, is that far too many think that it's a professional format, and too many of its users are under the impression that what they can do with the program is just as good as what a pro facility can do.

    And it's not made for that. It's an easy to use, no-brainer toy, or, as mentioned above, a decent writing or notepad kind of tool.
    MadMax likes this.
  12. pcrecord

    pcrecord Don't you want the best recording like I do ? Well-Known Member

    I too had early Cakewalk for DOS version. I think it was 3.1 and then I had the 4, 5 and there Eureka :love: : the cakewalk pro audio 6, added recording audio for the first time to the software. It was a revelation for me.. ;)
  13. MadMax

    MadMax Well-Known Member


    That's what I meant about the dubious claims from the equipment manufacturers.

    Labeling everything as "professional" and/or "professional quality" is seriously misleading. Yes, a professional could make a recording using said gear. But it's not likely to happen because the end result is a product that has a lot more under the hood than some single piece of gear or software.

    It's dubious from the standpoint that this type of lableing automatically makes the user a "professional"... or at best, leads the way to anyone becoming a producer of professional music from "proper" use of the most mediocre of equipment.

    ***END HIJACK***

    There really are quite a few additional "anecdotes" that go along with this thread of things I wish I had been told;
    (Or at least I now wish I had listened.)​

    1) Good $*^t ain't cheap and cheap $*^t ain't always good
    (Relating to this not being a poor mans game.)​
    Whether it's the excitement of finding a "deal", getting a shiny new toy, or just having money burning a hole in your pocket; This stuff is somewhat addictive. When you do this as a hobby or for fun, you should stick with those toys you can afford, and don't look much further than something like a cassette, Zoom, or simple 2 track recorder. Your wallet will thank you... and your spouse will let you sleep less on the couch than you will otherwise.
    2) “The music business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps run free, and good men die like dogs. There's also a negative side.” - Hunter S. Thompson

    At certain levels in this industry, there is a preponderance of smarmy people... Primarily on the equipment front as your introduction to the home recordists world begins... but one will soon find exists at every level of this industry... with heavy concentrations around where money is located.

    Snake oil abounds wherever you go. But there is no better example than with $1000 power cords that aren't any better than a $20 power cord.


    The $500 rocks you place on your turntable to "enrich the harmonic content to align with the stars"... BS.
    3) "A fool and his money are soon parted."
    (See 1 and 2 above.)
    4) "This $*^t ain't easy."
    There's more to recording than just throwing up microphones, dialing up some level and viola'... you have a perfect recording.
    If you are actually recording instruments or just vocals, there is an order of importance.
    1. Source (If it doesn't sound good at the start, the best you can hope for is that it doesn't sound good.)
    2. Environment (If your room suks, or is inappropriate, you can only do so much to fix it.)
    3. Microphone (No microphone can isolate sound that you only get the source... you will ALWAYS get some environment)
    4. Mic Pre (A noisy or colored pre may or may not be appropriate... they're all different)
    5. Converter/Recording Device (Accuracy come at a cost)
    6. Playback Environment (There's a lot of savings for DIY'er's, but there IS some math and physics involved)
    7. Playback System (Again, accuracy comes at a cost)
    8. Monitors (Monitors, playback system and playback environment are actually one cohesive unit.)
    5) Everything costs 3 times what you think it will, and/or will take twice as long as you planned.
    Whether it's your home studio build, or just buying enough gear to get started as a hobbyist, there are many hidden costs. The biggest is your cabling. It's great to have 24 channels of converters, but you have to get those analog signals in... through cables... which have connectors, and wire and labor associated with them. Then there's backing up your computer, and while drives are inexpensive, they aren't free... Just like glue, caulk, screws and nails are some uglies that eat the ass out of your wallet when you build... not to mention bad cuts on lumber, plywood and drywall.

    If you think time can't get away from you, realize that even in my case, missing two to three days on getting a task done cost me at least 40 hours just moving rigid insulation around the studio waiting to be installed... and ultimately put me 5 months behind on completing my studio build.

    6) It's ALL about the music.

    (If this isn't self explainitory, then I would ask you why the hell are you even doing this?)​
    Kurt Foster and DonnyAir like this.
  14. Torsten Borg

    Torsten Borg Active Member

    Thank you all so much for your answers. Helps me out a lot!

  15. Torsten Borg

    Torsten Borg Active Member

    Best sentence i've read for a looong time.
  16. Torsten Borg

    Torsten Borg Active Member

  17. Torsten Borg

    Torsten Borg Active Member

    Thanks for your story.
  18. Torsten Borg

    Torsten Borg Active Member

    So true! What is your opinion on cables then? I'd like to think that ''the studio is as good as it's weakest link'', do you agree?
  19. audiokid

    audiokid Staff

    Man, this is pretty subjective, a topic that can go all direction which is based and actual hearing, our monitoring, related gear, and illusion. If you can't hear well or don't have the level of gear that will translate in the first place, who's zooming who? But, how much of this also matters anyway? I think accumulative when I think about this stuff. On its own, who cares, but, maybe a whole studio with bad power, cheap cabling, average ADDA, mid level analog gear etc etc etc, who can tell whats what. And so it goes.
    Vovox is the epitome of DUH! but I have done tests and know good cable sounds better than cheap stuff. I have silver here and I like using it on my summing system.
    My kids hear differences more than me. My 6 year old hear the top end best. We've tried to fool her in blind tests on all sorts of sonic things and she never misses. 4 years difference between my youngest and the middle child is a difference of hearing 17k to 20k. I'm rolling off at 15k.
    pcrecord likes this.
  20. Torsten Borg

    Torsten Borg Active Member

    Wow. It always comes as a shock to me when i hear stuff like this. I'm so scared that when i'm in my 60's or 70's i won't hear over 5k, haha.

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