jay23,
Recently I met a young mastering engineer from Bklyn who worked with the renowned Bob Ludwig. He said that at 72, Ludwig had excellent ears and taught the younger proteges what to listen for. It is likely that Ludwig has diminished HF acuity, but he certainly has judgment about what he does hear. He could still have excellent hearing in the midrange, where the most critical things occur. This reminds me of some renowned elderly violin teachers I have had, who have pointed out things I overlooked. So take Frank (oregonpapa). An audiogram would probably show deficiencies, but he is a sophisticated and experienced music lover who knows what to listen for.
25 years ago, I recorded for fun, using 2 Neumann KM184 mikes in approximate ORTF style, that's it. I placed them very close, just behind the conductor's head or very close in string quartet ensembles, etc. My recordings were very immediate, unlike most commercial ones with ambience, etc. I wanted to emulate my favorite recordings of Donald Johanos conducting the Dallas Symphony in Rachmaninoff Symphonic Dances and Copland Rodeo on 2 concurrent LPs on Turnabout from 1967. These recordings have direct impact. There is tremendous detail without the muddy effects of ambience. After this recording of the Rachmaninoff, I cannot listen to other recordings which lose impact while trying to bathe everything in ambience. In a way, these Turnabout recordings produce sound that is "in the room," but they have the maximum clarity, detail and impact.
So, I would like to hear your objective findings, good or bad, about the PPT products you have tried in familiar systems.
Recently I met a young mastering engineer from Bklyn who worked with the renowned Bob Ludwig. He said that at 72, Ludwig had excellent ears and taught the younger proteges what to listen for. It is likely that Ludwig has diminished HF acuity, but he certainly has judgment about what he does hear. He could still have excellent hearing in the midrange, where the most critical things occur. This reminds me of some renowned elderly violin teachers I have had, who have pointed out things I overlooked. So take Frank (oregonpapa). An audiogram would probably show deficiencies, but he is a sophisticated and experienced music lover who knows what to listen for.
25 years ago, I recorded for fun, using 2 Neumann KM184 mikes in approximate ORTF style, that's it. I placed them very close, just behind the conductor's head or very close in string quartet ensembles, etc. My recordings were very immediate, unlike most commercial ones with ambience, etc. I wanted to emulate my favorite recordings of Donald Johanos conducting the Dallas Symphony in Rachmaninoff Symphonic Dances and Copland Rodeo on 2 concurrent LPs on Turnabout from 1967. These recordings have direct impact. There is tremendous detail without the muddy effects of ambience. After this recording of the Rachmaninoff, I cannot listen to other recordings which lose impact while trying to bathe everything in ambience. In a way, these Turnabout recordings produce sound that is "in the room," but they have the maximum clarity, detail and impact.
So, I would like to hear your objective findings, good or bad, about the PPT products you have tried in familiar systems.