How do I smooth out violins?

Second Rrog. When getting the sound right for my main 2 channel system, I focus on strings and vocals and had in the past -for a short time- the Spendor SP1 mated with a CJ PV12AL and MF2300A combo. Not sure how much different the SP1/2E sound but upgrading the pre to a (better) tube will certainly help. Power conditioning, fuses and better power cords comes next to make the ensemble sound more musical.

Bojack - I agree with your thoughts that the NAD pre-amp may be the cuplrit (it is only a guess). I have owned and enjoyed NAD gear, but to me it can be a bit harsh at times. It is worth a try to substitute a different pre-amp if you have the opportunity.

I can sympathize since I, too, have noticed that digital can be cruel to high strings. A good deal of this problem can be atributed to early digital recording techniques. I never buy a classical CD recorded earlier than the mid to late 1990's. Telarc has a long digital recording history. One can easily hear the improvement in string high sound from the mid '90's on.

Surprisingly, the addition of Bryston SST2 amplification into my system improved the sound of classical CD's greatly. James Tanner of Bryston informed me that this can be credited to new, improved transiters in the current models.

My recommendation is to buy some very recently recorded classical CD's and see if there is any improvement. The European labels (Audite, Praga, etc.)are producing some very good sounding classical music. You can sample some from the Berkshire Record Outlet at quite reasonable prices.

You might want to stay away from Sony. Too many great performances have lousy upper string sound on that label. Poor Hilary Hahn. I have heard her perform live three times. Her harsh Sony CD string sound is nothing like the beautiful tone of her live performances.

Lastly, SACD can produce a considerable improvement in high string sound over Red Book CD's. An audition might be an eye (ear?) opener.

I hope this offers some help. Good luck.

01-04-13: Brownsfan
I think a reference recording, recommended by the group as being innocent of the offending attributes has a great deal of value. If Charles1dad has a recording of violins that exhibits good coherence, lack of grain, and lack of excessive brightness in his system, and the OP finds the recording still has issues in his system, then it is system related and not an inherent fault of digital reproduction. If, on the other hand, this recording is found by the OP to be satisfactory, then he is going to have to live with the fact that he has somehow selected a bunch of bad recordings. The idea is to help the poor fellow narrow things down without running a series of megabuck experiments.

Very well said, Brownsfan, as is the rest of your post. And given that what is specifically in question is violin reproduction in the context of orchestral recordings, I think that the CD I suggested earlier would be an absolutely ideal choice for use as a reference recording.

In fact, I would suggest that those who consider the CD medium to be inherently incapable of providing high quality reproduction of orchestral music just might find themselves in a state of amazement upon hearing it.

I should add to my earlier comment, btw, that the recording engineer was the legendary Kenneth Wilkinson, with production by Charles Gerhardt.

Regards,
-- Al

01-04-13: Tarp38
I can sympathize since I, too, have noticed that digital can be cruel to high strings. A good deal of this problem can be atributed to early digital recording techniques. I never buy a classical CD recorded earlier than the mid to late 1990's. Telarc has a long digital recording history. One can easily hear the improvement in string high sound from the mid '90's on.

While I do not have any of the 1980's Telarcs on CD, I have a great many of them on LP, and IMO many of those have excellent sonics. And in the cases of those that don't, the primary reason is usually overly swimmy acoustics, which are clearly attributable to the microphone techniques and placements that were used on those particular recordings.

Try, for instance, another recording of Dvorak's "New World Symphony," Telarc DG-10053, Leonard Slatkin conducting the St. Louis Symphony, which was released in 1980. I don't think anyone would ever accuse the string sound or anything else on that recording, at least in the LP format which I have, of being strident or otherwise less than excellent. The performance, though, is not my particular cup of tea.

Regards,
-- Al