Bottlehead Forum

General Category => General Discussion => Topic started by: Doc B. on May 30, 2012, 06:11:41 PM

Title: Doc's Positive Feedback interview
Post by: Doc B. on May 30, 2012, 06:11:41 PM
David Robinson and Lila Ritsema of Positive Feedback Online came up for very fun visit earlier this month. David recorded a conversation we had about Bottlehead, VSAC and other misdemeanors and put it up in the form of a podcast at PFO:

http://www.positive-feedback.com/Issue61/schmalle.htm (http://www.positive-feedback.com/Issue61/schmalle.htm)
Title: Re: Doc's Positive Feedback interview
Post by: ironbut on May 31, 2012, 03:28:55 PM
Very cool Dan!
Enjoyed it a lot.
Title: Re: Doc's Positive Feedback interview
Post by: Thoburn on June 01, 2012, 03:00:15 PM
I listened to the whole thing and it was very enjoyable. Thanks for sharing it.
Title: Re: Doc's Positive Feedback interview
Post by: BNAL on June 05, 2012, 07:55:33 AM
I found the interview to be very informative and brings up so thought on what future offerings BH may be able to provide. I know that this has probably been kicked around, but what to ask the question. With the, hopefully near future, indroduction of the BH DAC is there any though of offering HI resolution digital titles from the Tape Project?

Also, I learned about the difference between PCM and DSD. Thanks.

As far as the BH philosophy, that is why I was drawn to the products and have purchase a number of amps and preamps, and will probably buy more in the future. It is very open to with no audiophile snobbery, a group of people that are very open to helping others and sharing information, both at BH and on the forum.
Title: Re: Doc's Positive Feedback interview
Post by: Doc B. on June 05, 2012, 08:22:16 AM
Well, if we offered some high res files it wouldn't be via the Tape Project. But I have kicked around the idea. There are some decisions that would need to be made about how strictly the recording has to adhere to being high res. That is to say some stuff gets recorded at, say, 24/96 but then the mixing engineer might take it to 16/44 because he needs it in that format to run it though a particular piece of gear he wants to use. So it might be that though something was done initially in high res by the time is got to mastering it was folded down or perhaps folded down and then upsampled. Or in some cases a recording might be made in, say, 24/88 and then dubbed to tape to sweeten it before being put back to 24/88 or 16/44 or whatever. It gets to be pretty tricky to sort through all of this.