Why don't more recordings have soundstage outside of speakers
in my experience it doesn't require hotrod recordings or esoteric speakers. using a pair of magnapans in the midfield [6-7 feet from plane of speakers] i routinely heard a hemispheric stereo sound field ["ear to ear"] like a distant pair of headphones but with solid center fill, using equilateral positioning, on a wide variety of stereo recordings including a 1958 recording [on CD] of organist korla pandit [born john roland redd], his greatest hits [still in print IIRC], got the same result playing this CD through a pair of mirage omnipolar speakers listened to in the near field [3-4 feet, again equilateral positioning but positioned in the dead center of the room both horizontally and vertically] plus the latter speakers were far more holographic in their stereo presentation with gobs and GOBS of depth, the sound went behind my ears [beyond ear to ear] even. the mirage [aptly named jewel of a speaker] did this trick with just about any standard stereo recording. they were somewhat hot in the trebles, however. |
in my experience it doesn’t require hotrod recordings or esoteric speakers. using a pair of magnapans in the midfield [6-7 feet from plane of speakers] i routinely heard a hemispheric stereo sound field ["ear to ear"] like a distant pair of headphones but with solid center fill, using equilateral positioning, on a wide variety of stereo recordings including a 1958 recording [on CD] of organist korla pandit [born john roland redd], his greatest hits [still in print IIRC], got the same result playing this CD through a pair of mirage omnipolar speakers listened to in the near field [3-4 feet, again equilateral positioning but positioned in the dead center of the room both horizontally and vertically] plus the latter speakers were far more holographic in their stereo presentation with gobs and GOBS of depth, the sound went behind my ears [beyond ear to ear] even. the mirage [aptly named jewel of a speaker] did this trick with just about any standard stereo recording. they were somewhat hot in the trebles, however.It is possible to do that with box 2 way speakers like mine but with acoustic control of the room, if not, my speakers will not deliver it... But i lived exactly what you describe in my 2 listening position....nearfield and regular....Without"being hot in the treble" tough... 😊 This hemispheric soundstage and imaging with depth is easier to win with other types of speakers than mine, like omnidirectional one, but it is possible with any good speakers if you control the room response to the speakers with mechanical equalization modulo Helmholtz resonators....( it is not the samething that the speakers response to the room with electronical equalization) It is necessary also to control reverberation time and timing thresholds of the side and back reflected waves coming from EACH speaker for EACH ear.... by the way this Korla Pandit is well recorded even coming from youtube....Even from youtube i get this hemispheric soundfield... I get it with too many other recordings also to mention... https://www.youtube.com/watch?v=Jh4edPUBfg4 And for example this POP piece will do the same: https://www.youtube.com/watch?v=O8yix8PZKlw But this opera of Kurt Weill is a better test for listening voices all around you and half of the time from your back also: https://www.youtube.com/watch?v=qR33bL5aNTk&list=PLnQJF3Qi_4_CvjtOvZypmfmC4ygxSxOgm&index=52&t=392s |
IMO almost everything done by Pink Floyd was engineered with soundstage that is the benchmark. The Wall is a great example of the best drum sound production. They are followed up by the Doors on vinyl they not only achieved side to side sound but forward to back depth. There are times you can hear the guitar like he stepped closer to you for the solo. Another album that is top notch engineering is Jethro Tull Thick as a Brick. I have used this for years to calibrate the bass in my system. It is punchy, force full and tight, I hate the muddy bass that much new production give you. Getting bass right takes time and in the studio time is money. They cut corners and try to push out as fast as they can. |
