Thiel Owners

flat frequency response is just part of the work
time domian, energy storage and release are also important....
yes i am a Vandersteen fan for sure...

but as I dial them into my room the 2.3 are quite good

i will remove the bottom larger access plate.....if required, removing the passive radiator to access xover is not imo a good design tradeoff....especially mounted from backside of baffle as it appears to be......

as for no standards....true....so to learn where in the chain..things go wrong.....built a pretty good mobile recording rack.....let me tell you it is microphones.....

fun

for those of you w access to live unamplified music consider your own experiments in the chain....

for analog get a Revox A-77 and a couple of decent microphones....hint check out the excellent recordings made by the late ( RIP ) Charley Hansen of Ayre....for his list of relatively inexpensive gear....all told this analog experiment will set you back about $2k....with good headphones, this will rival just about anything.....

for simple digital a Zoom H6 can be amazing...wayyyy under $1 k

otherwise get an Ayre A to D, and of course microphones....

then start comparing to what you heard....

a fun journey....your results may vary....

a fun journey....your results may vary....

as long as you have unlimited funds ... if you know what I mean.  

ronkentThank You for suggesting brass footers as a substitute to outriggers or sound anchors. Happy Listening!

Yes, recording one's own or otherwise knowing intimately the nature of your source material is necessary to not get lost in the woods. When setting up my studio this time around, I began with my analog bias built on a vintage Ampex deck. But all things considered, I landed on archival digital. My mics are Earthworks QTC40s (3Hz to 40kHz ruler flat x <50 microseconds settling time) in a coincident stereo array to Metric Halo ULN-8 conversion and stored via ethernet on a Mac solid state drive. MH SpectraFoo is my primary analysis tool with real-time listening (live and/or playback) and visual tools. The simultaneous multi-input environment helps integrate the analysis with the auditory experience, and playback in the recording room minimizes excess variables.