Since I resolved the problem, I don’t hear the “grittiness“ of massed violins on any source anymore. I think the problem may be with your amplifier, or with your DAC, if the source is digital.
the sound of massed violins in classical orchestral recordings
why do massed violins have this sort of gritty sandpapery reverberation in classical orchestral recordings?even in some sections of a piece, when the violins are playing softly in the background, you hear that gritty overtone more than the melody.when I listen to the Houston symphony in Jones Hall,sitting fourth row, facing the violin section, I don't hear that sound.I have three systems { two of them mid-fi ] and I hear the same thing-even with headphones.in all instances, the other parts of the orchestra are clear. my main system : Vanalistine Trancendence 10 tube preamp,a 35 year old solid state Proton D1200 amp, [have tried NAD,Project, Musical Fidelity amps--they don't sound any better],Onkyo dx7555 CD player [Stereophile class B],and Project Carbon turntable with Grado Black 2 cartridge [ the Ortophon Red was too bright ] through Magnepan MG12/QR speakers.Tried a highly regarded Elac speaker--no change as far as the violins go, but way inferior to those dramatic Maggies.So, there you have it. Is it the equipment? Is the state of the art not up to recording violins? Is it me? [its o.k.-I can take it}. In closing,a couple of years ago,I had phone conversation with a well known person associated with a major speaker company about this. His response :[ paraphrased ] Violins are a problem--don't like 'em. Any input will be appreciated. Thanks.
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Violins have a very wide frequency range which always passes through a cross over to separate midrange and tweeter drivers. My guess is this disrupts the ultra fine detail these instruments have. My daughter is an accomplished violinist. When we bought her violin I was amazed at the different character these instruments have sort of like wine. I must have listened to 20-25 instruments. The one I finally landed on cost $10,000. The runner up was a more reasonable $5000 made by a young Italian violin maker who was an up and coming star in the world of violins. So I got that one. Anyway, the secret to the best ESLs is that there is no crossover in the violin's path and their transient response is unsurpassed. The reproduction of massed violins is as good as it gets. If violins are your thing then you need to head in that direction. |
the proton d1200 amp can produce 540w/1000w/1500w 20ms '450w/650w/800w 100ms '380w/500w/520w 200ms 'duty cycle 500ms dynamic headroom at 8,4,2ohms 7.3db 'should be able to easily handle any crescendo that Beethoven,Mahler,or Orff can dish out,n'est pas? What's the difference between Continuous RMS and Dynamic Power ? https://usa.yamaha.com/support/faq/audio_visual/2483.html Many people confuse these specifications, so I will try to give you a simplified, non-technical explanation. Continuous RMS Power, is the spec that really tells you how powerful an amplifier is. RMS power is expressed in watts. A typical specification might read 100 watts RMS into 8 ohms from 20Hz-20KHz at .01% THD. What this means, basically, is that the amplifier will deliver 100 watts into an 8-ohm speaker from 20Hz to 20Khz? This frequency range is basically the entire audio range that an individual can hear. The THD spec stands for Total Harmonic Distortion: This is the amount of distortion the amplifier will introduce into the original signal. Any high quality amp made today has extremely low distortion ratings. The human ear cannot hear anything under 2%. For the most part, when you are considering purchasing an amplifier, you can disregard the THD specifications. PROTON D1200 continuous RMS power is 100 W at 8 ohms. This amplifier is NOT rated for RMS power at 4 Ohms which is the internal impedance of the Magnepan MG12/QR speakers. You got plenty of company to discuss for issues with mass violins. I am trying to give you a solution to at least minimize the problems related to reproducing mass violins in your system. |
What about buying speakers that are made acoustically to match the instruments you like to hear. I am sure there are speakers that reproduce classical music better than others. It would be interesting to hear from those who have found the right equipment to best reproduce classical instruments. I am sure cabinet design is a good source of the problem. There are many in this group who know what speakers are best to reproduce classical instruments along with components. |
@6119 Several years ago I copied tracks from a variety of CDs on to one CD-R so it would be easier to carry around when auditioning equipment. One of the tracks was the first movement of the Barber violin concerto played by Shaham, exactly the recording you mention. So we have a concrete data point in common. I put the Barber on the CD-R precisely as a test of violin reproduction (as well as bass--those falling two-note bass figures in the background). What I can tell you is this: the DGG recording is never going to be described as forgiving, but it can be played on equipment without inducing the slightest wince, grimace, or tensing of the muscles. It just depends on the equipment in the system, because these days listening to that recording at home is a pleasant and rewarding experience. While I'm at it let me recommend this recording of a consort of viols as a wonderful test of overall timbral reproduction of stringed instruments (as well as an excellent CD):https://www.amazon.com/Crye-TYE-HUME-TALLIS/dp/B000025DFV/ref=sr_1_1?dchild=1&keywords=crye&qid=1599586146&s=music&sr=1-1 |
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