What makes instrument immediacy, -separation & -bo

Having recently progressed through stages of mods to a BAT VK tube amp, I've heard the qualities of which you speak all improve together in the same amplifier driving the same speakers. It's particularly interesting to me that soundstage size & depth-of-field are as much a product of improvements to the amp's electronics as they are a result of speaker placement or room effects. Deep-hall effects are revealed in the far corners, but the performance also moves forward of the speakers toward the listener. The amp improves in its ability to retain accurate frequency balance & dynamics at reduced volume. Finally, the qualities of grainlessness, smoothness, warmth & relaxation, are in no way unreconciled to improvements in treble resolution & air, and punch. Great dynamics is the quality that binds everything together. It fits the instrument's body within the boundary of its image & delivers impact approaching live performance. You sense that it's the intruments that are jumping, not the amplifier. The acid test for live performance is bass control. Almost all amps fail to communicate accurate texture in the bass region.

agree with pbb....i would add that most recordings are inherently flawed (in an audiophile way)and were never intended to emulate live music.

What model Energy speakers did you like?

The early models spent a lot of effort on very wide and even dispersion and probably lead to their success as a start up company with people who left AR.

IMHO it is wide even dispersion which produces the most convincing small jazz club soundstage with precise positioning of instruments (of course you need a good recording to). A speaker with too much directivity gives the game away at once....the sound is coming from the speaker and it fails to be convincing!

Another huge factor is reverb which I should have mentioned...this is what gives the game away on the venue...as opposed to your room.

The kind of mixes you see are ones that are close miked in acoustically damped sound rooms and then engineered to convey a "real" presentation with instruments in various places (in fact it is generated by the sound engineer). These recordings do not convey any telltale room acoustics from the venue.

I have a few examples of some good recordings like this.

Dave Grusin's "Hommage to Duke"
Tower of Power "Soul Vaccination"
Steve Ferrone's "More Head" (with STP bandmembers)
George Benson "Live - Weekend in LA" (Harvey Mason's drums "On Broadway" are particularly interesting on this recording as you actually feel as though you are five feet from the drummer - perhaps a bit over done by the sound engineer but impressive nevertheless - definitely feels as if they are jamming in the room with you!)

An example of a good recording but one that definitely lets you know you are in a concert venue with lousy acoustics from the stage and hall (i.e. the opposite to what you seek) is Talking Heads "Stop Making Sense". Another of this type is Eva Cassidy "Live at the Blue Note".

At the end of the day, most of what you are seeking is down to the sound engineer mix, microphone placement and acoustics of stage or sound room. To recreate perfect positioning it usually requires separate sessions for each instrument in acoustically damped environments that are later carefuly mixed together - ever see typical video footage of a vocalist in a sound room alone with headphones and a microphone.....now you know why!

You also now know why those magical moments when a live recording sounds great are so magical....

StonedTemplePilot,

There's a trade-off relationship between immediacy and richness. The more dominant the first-arrival sound, the more immediate (front-of-the-hall) the presentation. The more dominant the reverberant energy, the more rich and ambient (rear-of-the-hall) the presentation. Room acoustics, speaker positioning, and speaker radiation characteristics come into play here.

In my opinion, the characteristics that would give what you're looking for in a loudspeaker are a slightly downward-sloping on-axis response and smooth power response along with a somewhat narrower-than-normal radiation pattern. You also want a speaker with good dynamic contrast (minimal thermal compression), as this correlates well with liveliness at low volume levels.

If you listen from more than 5 feet away from the speakers, most of the sound energy that reaches your ears is reverberant sound. A key difference between live (unplugged) and reproduced music is this: Live instruments produce natural-sounding reverberant fields, but most home sound systems don't. For example, listen to a piano from the next room, through an open doorway with no line-of-sight to the instrument. All you can hear is the reverberant energy, but it sounds totally natural and convincing. On the other hand, very few sound systems will sound real when listened to from the next room, and this is because they do not generate a spectrally (and dynamically) correct reverberant field.

Now the idea is not to have a system that you can listen to from the next room - the idea is to have a system that replicates as close as possible the sound field of a live performance. And in my opinion this cannot be done without getting the reverberant field right.

In your listening room, you want a strong, diffuse reverberant field that ideally begins to arrive as long after the first-arrival sound as possible. You do not want an overdamped room, and most home listening rooms are overdamped (carpeted, with overstuffed fabric furniture). Large plants and lots of wooden furniture are good for diffusion, or you can get dedicated diffusors. Since most of the sound energy that reaches your ears is reverberant sound (assuming you sit more than 5 feet away from the speakers), in my opinion it makes sense to start with speakers and proceed to room treatments that give you a natural-sounding reverberant field.

Regarding amplification, SET and OTL amps along with low feedback Class A solid state amps have distortion characteristics that are in harmony with how the ears work. The commonly used total harmonic distortion specification has no useful correlation to how we perceive sound - the amplifier industry has been measuring the wrong thing for years.

Duke
dealer/manufacturer