Should I?

bernd,

i am more or less on the way for my vacation, but i listened your wonderful melancholic version of hänschen. i love it! have a nice time everybody!

Ok I'm blown away....

20 PCBs for me :grin: :grin: :grin: :grin: :grin: :grin: :grin: :grin: :grin:

Very musical and the tinkling on the ivories isn't half bad either!

Very nice, thank you for posting these, its a real treat.

Cheers
Michael

my subjective opinion prefers the clean one with very nice open dynamics.

The 670 darkens the track which I think would be great for a drum bus comp. But the sustain is great and would also be nice for lead stuff. Thanks Bern!


:guinness: :guinness: :guinness:

I'd like to hear this on drums or vocals. Thanks for the samples.With the faint percussion sounds, I thought it was going to turn into a Mogwai tune.

Everyone make note -- the compressed sound file is much louder than the other uncompressed file. If you adjust the levels to match then you hear the differences more fairly and clearly.

The uncompressed version definitely also has its own beauty in this performance and context.

The circuit certainly thickens things. Some of the separation between notes in a chord gets mooshed together. The spaces between simultaneously played notes disappears.

You don't hear each string as an individual note among other notes -- it becomes a mooshed chord with one overall character -- instead of discrete notes each with their own individual characters and identity playing together and making a chord. The circuit reduces the sense of each note's identity and crowds them together.

I'm also hearing the attack momentarily dropping the level below what's expected by the ear, then recovering quickly -- which is a little distracting. This is especially evident in the left channel. What were the settings used?

There's a sense of agression and impatience in the sound now with the compression.

It's definitely an effect. It wil be fun to use.

Thanks to Analag and Volker and Bernbrue! :guinness:

:?

The original file sounds already compressed.
Is it not?

Hi,
the original recording was done with cheap china small condenser mics A/B and a Yamaha 01V/96 mixer. The first file is completely untreated, neither compression nor EQ or anything else. The "Time Constant" setting at the PM670 was fastest attack and release. Threshold was fully turned clockwise, of course not a reasonable setting at all. I just wanted to give you a general sound impression of the PM670 prototype and me a few minutes to do what I love to do, making music, nothing more. :grin:
regards
Bernd

can not wait to start :twisted:

thx bernd, analag and volker

Looks like it's doing it's job perfectly of the pianoforte stuff, Bernd.
Very good.

Hey guys,

Just checked the sample out on my studio monitors... its strange.

when I solo the right and left channels -- On one of the Channels for the PM670 track there's a distortion - like an over-drive on the peaks, but not on the other channel. (if you look at the wave file picture its the top that is distorting).

But on the source file there is no distortion.

Is the PM670 bringing that out of the original track? or you might have a bunk component or bad connection in one of the boards? :grin: OR I might be crazy which always a possibility -- can someone else listen on some reference monitors and tell me if they hear it too :green:

Also do you think the Edcor transformer are the thing thats darkening the sound?

Just curious... and sorry to be critical, I really do appreciate the work and all your effort that you are doing.

[quote author="cannikin"] can someone else listen on some reference monitors and tell me if they hear it too :green:

.[/quote]

I can hear slight distortion in the peaks.Cant wait to hear on female vocals especially with the darkening going on.
Thanks guys -luv it!!!

Unlike the Altec 4xxx type mu compressor the Fairchild topology is much faster, so in shortest attack/release you will hear it at the onset of compression. This can be dialed out by simply giving it a slower attack. I could have designed it out but I decided to give the user the option of the fastest attack possible.
Also notice no thumping, at all. Even with unmatched tubes.

analag

Yeah I can hear a bit of distortion on the peaks in the left channel when using headphones.

Did I forget to mention that the settings are almost infinite as with any compressor....should I fire up my 660 and compress a file at different settings to show you what I mean. Maybe Bernd likes a little distortion in his peaks.

analag

Whoa sorry. Must have been writing as you posted. There you go.

Analag - Yes, I'd love to hear some samples from your 660.

Cannikin - Yes, I heard the distortion on the left channel. I thought it was my cheap headphones rattling, so I switched to softer sounding cans. It's still there a bit. I wasn't sure what to make of it but I'm glad someone else has heard it.

I'm glad to know the threshold was way up. The thing works any way any how. Can't wait to build one.

Big thanks to Analag and Volker and Bernbrue. Again. :guinness:

I`m testing the steinway files in my mastering rig and the distortion in the left channel is pretty obvious. Also I noticed how the stereo image is different in the Pm670 version, the stereo field is not consistent, much less stereo depth and jumping Left-Right: Did you use the 670 in dual mono or stereo mode?

...But, that thing got character! :thumb:

Synthi

dual mono, yes, there is distortion in the left channel due to an old, scratchy dual pot from the 70ties. Will be replaced by switches, of course. Remind, it´s working but still in beta phase. If I were "Hänschen", I would distort as well, being squeezed through a prototype. Keep smiling :grin:
regards
Bernd

Since everybody is making a big deal about " the distortion on the left channel". In design and troubleshooting...if the distortion was on both channels, then I would look for a flaw in the design...but if one channel was "OK" and the other was distorting...I would look for a flaw in that (distorting) channel.
Remember it is two identical channels, being driven at the same levels. I specify rotory switches with matched 1% metal film resistors for maximum symmetry between both halves of the differential pair. This is even more important than DCR balance in the output transformers where some people might think the focus should be.

analag