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  4. Synchron Stage A vs. Teldex

  • Synchron Stage A vs. Teldex

    PaoloTP
    PaoloTP

    Hi,

    Now that I'm using the Synchron Stage more, in MIR PRO, I can have a more defined image of this room against the other one I've been using the most recently, the Teldex. I tried them with the same piece and identical settings.

    I've always considered the Teldex more transparent, due to an impression of a denser reverb tail in Synchron and an airier top in Teldex. However, when comparing the two rooms, I would say that Synchron Wide can be more transparent than Teldex, depending on the music. Low frequencies in Teldex are less defined, and while the highs seem to be more extended and brighter (hence the impression of air), this subtracts from the overall clarity.

    The middle range seems to be softer and sweeter in Teldex. It seems to be more defined and forward in Synchron Wide. Strings and brass may sound more aggressive in Synchron. In Teldex everything is blended together. In Synchron, single instruments are clearly separated from the others. High woodwinds and strings sound shinier in Teldex, percussions and low instruments more powerful in Synchron.

    Teldex: Impressionism, classical music. Synchron: Expressionism, modern/film music.

    Do others share my impressions?

    Paolo
  • S
    S
    last edited
    last edited

    Yeah, that squares with my impressions (as it were) as well.  Teldex, as a whole, seems more blended and awash in reverb, while Synchron seems very separated (not unduly so) and light.

    @PaoloT said:

    Low frequencies in Teldex are less defined, and while the highs seem to be more extended and brighter (hence the impression of air), this subtracts from the overall clarity.

    My guess is that this has to do with the room dimensions.  Teldex is a rectangle, but Synchron is angled outwards.  This means Teldex will have peaks and nulls in the LF areas and the high frequencies will bounce around at more regular angles than in an irregularly angled room like Synchron.  Please note: this is my *limited* understanding of acoustics at play here...

    All in all, I think they both have distinct and useful room impressions, and the differences you outlined make sense to me.
  • PaoloTP
    PaoloTP
    last edited
    last edited

    @Another User said:

    All in all, I think they both have distinct and useful room impressions, and the differences you outlined make sense to me.

    Yes, they are complemental, and can be chosen depending on the piece. But I still wonder how much Synchron is good for classical music, considering that its sound has changed in the recent years. They recently performed a Beethoven reorchestrated by Mahler, and it would be a great bonus to be able to be able to listen to the full performance.

    In the meantime, here is my comparative test. The mockup is still rudimentary, since I miss some features in Dorico to do things that now can't be done, so I hope I will be forgiven for its low quality. It tries to be a 'produced' sound, with final reverb, compression and EQ on the master. The room quality should be apparent in the mix.

    Teldex (+Rev+Cmp+EQ) | Synchron (+Rev+Cmp+EQ)

    Paolo