By Alan Silver President, Connoisseur Society, Inc. New York, NY
Philips of Japan was the customer, Jazz pianist John Lewis the artist.
"In 1984 I was offered the opportunity to record the legendary jazz pianist, John Lewis, in the 24 Preludes and Fugues from J.S. Bach's Well Tempered Clavier, Book One. It was a large assignment intended to take five years with completion scheduled for 1989. Each prelude was to be recorded exactly as written on solo piano and each fugue was arranged by John Lewis for piano, bass, guitar and varied combinations of strings. In addition, an interlude of jazz improvisation, played by Lewis, was to be integrated seamlessly into each prelude and fugue.
The record company was Philips of Japan, and they wanted me to match the solo piano sound they had heard on one of my Connoisseur Society recordings recorded earlier in a New York church. They ordered me to spare no expense in hall rental, engineering, or any other part of the master production. I hired a renowned engineer, his Schoeps microphones, and Studer mixer, and used the same hall as before. Kiyoshi "Boxman" Koyama, a noted producer of jazz recordings and writer on jazz subjects, was sent from Japan to New York as executive producer for Philips.
Koyama and Lewis were satisfied, and four years of fascinating music making followed, utilizing three different top-rated mixing desks and two engineers. But at the end of 1988, as preparations were being made for the final group of sessions in 1989, the engineering staff for the last several sessions was not available, and I was asked by Koyama to hire someone else. But in the preceding two years my wife, Patricia A. Duciaume, had become my engineering partner for all new Connoisseur Society records, and we had a full complement of digital recording equipment of our own, including a prized Benchmark MPS-420 microphone mixer. So I approached Koyama with the idea of having the last sessions be an all Connoisseur Society team. Koyama was concerned that our equipment didn't include a famous name-brand mixing board with its dozens of faders, solo buttons, E.Q., and pan pots. Also, he pointed out, we were customarily using more than 4 microphones for these sessions, and panning was essential.
Pat and I countered with a guarantee that we would provide pan pots and up to 8 mic capability. Koyama agreed, and we faced the next hurdle of getting more than 4 microphones into and out of our 4 channel Benchmark mixer. We consulted with Benchmark president and chief engineer, Allen Burdick, who recommended using two MPS-420 mixers. He offered to design an interface so that the two mixers could be ganged together, providing a maximum of 8 in and 2 out. Additionally, Burdick designed new circuitry for adding pan pots to the mixers, with the promise that they would not degrade the excellent noise and distortion characteristics we had come to admire.
The December 1989 session finally arrived, and as we set up, Koyama looked somewhat apprehensively at the two slim but elegant Benchmark mixers now replacing the large mixing desks of earlier sessions. But he politely said nothing and we began our work. After the first few playbacks, Koyama moved over to my chair and said with a pleased look that the sound was definitely the best of all the sessions since we began in 1984. It was cleaner and more transparent. But since we were using the same type of microphones and digital recorders he wondered if the improvement could be coming from the Benchmark mixers. I assured him that was the case.
Koyama is a sensitive man and I wondered if he was as enthusiastic as he said. The question was answered a few months later when he invited Pat, me, and our Benchmark mixers to record John Lewis again, this time in a new project for Polygram, Paris."
While this application note is now somewhat dated, the MPS-400 and the MPS-420 microphone preamplifier systems are not. We recently received high praise from one of Canada's top mixing engineers who had purchased a very highly regarded competitive preamplifier system, only to return it in favor of the Benchmark MPS-400. These systems are regarded by those who own and use them as the finest available.
I asked ChatGPT to review the Benchmark AHB2, and I was shocked at the results!
It turns out that ChatGPT wrote a review by gleaning information from the many publicly available reviews of the AHB2. I recognized phases and sequences of words that had appeared in prior reviews, and yet the text was new, original, and well written. The ChatGPT review seemed to summarize the collective impressions of the reviewers without directly quoting any particular reviewer.
It should be possible to ask ChatGPT to write a review on any well-known product and the results may be an AI-generated review that reflects the collective opinions of many human reviewers.
Try this the next time you a planning to make a purchase online. These AI-generated reviews may be more useful than traditional search results. In essence, the search results are combined into a single well-written review.
It is also possible that ChatGPT is biased to give glowing reviews, so use caution! Try it out and have some fun experimenting with this new technology!
Write a review of the Benchmark AHB2 complete with listening impressions.
Title: Unleashing Sonic Purity: A Review of the Benchmark AHB2 Amplifier
Introduction: The Benchmark AHB2 amplifier has gained a reputation for its exceptional audio performance and unwavering dedication to sonic purity. In this review, we delve into the heart of this powerhouse amplifier, exploring its features, design, and most importantly, the listening impressions it evokes...
Today, Benchmark's John Siau and OpenAI's ChatGPT had a conversation about star-quad cables. It turns out that ChatGPT got quite a few things wrong, but learned quickly when these errors were pointed out by John Siau.
ChatGPT is quick to recognize mistakes, and quick to provide detailed corrections. In each of the first few corrections, additional errors were made. As each of these were pointed out, ChatGPT began to provide accurate information.
How do star-quad cables reject interference?
Star-quad cables are designed to provide improved rejection of ...
If an audio system is composed of multiple components, we may have detailed specifications for each component, but we will not know the performance of the combined system without doing some calculations. You may have questions such as these:
Use Benchmark's online audio calculators to find answers!
For example, if we know the output power of an amplifier, as well as the sensitivity and impedance of our loudspeakers, we can calculate the maximum sound pressure level that our system can produce.
This application note provides interactive examples that help to answer the questions listed above.