Let's say for the sake of argument you wanted to record the most transparent
dialogue (background noises within reason of a regular location).
If the signal chain did not matter in the real world of fast paced
production schedules, which way would you go if space did not matter, but at
least have reliable equipment.
Are the high end converters only good for musical instruments with big bass
and cymbals? Can dialogue actually sound better with better converters?

with end result being 16bit/48kHz


MIC PRE

mic pres in a Mackie 1604 VLZ-PRO mixer
mic pres in a sound devices 442 mixer
mic pres in a WENDT X4/X5
Mackie Onyx 1220 -4 new ONYX mic preamps with sound comparable to boutique
preamps-
mic pres in a cooper mixer
(The above for the mic pres _NOT_ for the mixer aesthetics)


CONVERTERS
Sony MDS-E12 Professional MD Player/Recorder (for conversion only) with
24bit converters, S/PDIF digital out
Apogee minime micpre/converter 24bit with UV22 dither to 16bit
Fostex PD-4 TC DAT (with stock A to D converters)
Apogee Rosetta ADC 24bit with UV22 dither to 16bit
Sony CDR-W66 Professional CD-R/RW Recorder/Player (for conversion only) with
24bit converters, AES digital out


STORAGE
TC DAT or DVD-RAM recorder. The recording medium being digital, but using
the AES/ or S/PDIF input just becomes a bit bucket.

any Harddrive recording medium name brand independent

Pick and choose from any of the above and create a signal chain


Would 24bit recording on media really be worth the extra expense of better
converters above and beyond improving a 16bit/48k recording? and the extra
storage used in recording media.


Let's see what kind of choices pros pick for sound quality only.

-kspaz

Do we get to pick the voices, too? That's the biggest variable within
the paramters you listed. The microphone would be the second biggest
variable.

I haven't used all the equipment you listed, but FWIW, my choices
--decided strictly on sound quality -- would be:

442 or Cooper front end with an Apogee converter and edit on a SADiE DAW.

John B., Indy


kspaz22 wrote:

Let's say for the sake of argument you wanted to record the most
transparent
dialogue (background noises within reason of a regular location).
If the signal chain did not matter in the real world of fast paced
production schedules, which way would you go if space did not matter,
but at
least have reliable equipment.
Are the high end converters only good for musical instruments with
big bass
and cymbals? Can dialogue actually sound better with better converters?

with end result being 16bit/48kHz


MIC PRE

mic pres in a Mackie 1604 VLZ-PRO mixer
mic pres in a sound devices 442 mixer
mic pres in a WENDT X4/X5
Mackie Onyx 1220 -4 new ONYX mic preamps with sound comparable to
boutique
preamps-
mic pres in a cooper mixer
(The above for the mic pres _NOT_ for the mixer aesthetics)


CONVERTERS
Sony MDS-E12 Professional MD Player/Recorder (for conversion only) with
24bit converters, S/PDIF digital out
Apogee minime micpre/converter 24bit with UV22 dither to 16bit
Fostex PD-4 TC DAT (with stock A to D converters)
Apogee Rosetta ADC 24bit with UV22 dither to 16bit
Sony CDR-W66 Professional CD-R/RW Recorder/Player (for conversion
only) with
24bit converters, AES digital out


STORAGE
TC DAT or DVD-RAM recorder. The recording medium being digital, but
using
the AES/ or S/PDIF input just becomes a bit bucket.

any Harddrive recording medium name brand independent

Pick and choose from any of the above and create a signal chain


Would 24bit recording on media really be worth the extra expense of
better
converters above and beyond improving a 16bit/48k recording? and the
extra
storage used in recording media.


Let's see what kind of choices pros pick for sound quality only.

-kspaz