2. misc-audio
  3. 190193-1069

So, a reviewer just said something I need to talk about.

I will not mention the reviewer, nor the specific equipment being reviewed, but this statement was made, talking about sax and strings: "the strings had real body, and it sounded like real strings being played". The tonality of the instruments was what he/she was talking about. I get this. The tone, the spatiality of the instruments, the stage that was presented. All well and good. What about the engagement between the listener and the musician. I have stated so many times here, ad nauseam, that the most important aspect of music listening, for me (and not enough with other listeners) is the "playing of the instruments". The artistry of the musician behind those strings. I just don’t get it. When I listen to Jeff Beck (RIP), using him as an example, what I am attracted to, FIRST & FOREMOST, is his PLAYING. Reviewers talk about "sound". Most people here talk about "sound". I spend more time now on other sites, that speak about the music playing and, the compositions. For whatever reasons, I seem to be realizing, that A’gon members, as so many reviewers, talk about sound. They very rarely mention MY most important aspect of listening. The musicianship and the compositions. Another rant from me. What are your thoughts on this? How do you listen? What do you listen for/to? What does your system convey to you? I know I am out of line again, but........My best to everyone. Always, MrD.

mrdecibel
boxcarman
427 posts
 

Wow, this a true thinkpiece.  Of course the musicianship is important, along with the musician's emotion traveling through the instrument, recorded excellently with precision gear and reproduced by your Hi-Fi.  Everything is important.

dynacohum
653 posts
 

I still use early Rod Stewart and Van Morrison recordings to judge my system changes for this very reason…those records convey both a high quality of sonic representation, AND a joy of musical spontaneity that engages and excites me.  “Cut Across Shorty” with its driving drums and 12 string, “Domino” with its Stax/Volt vibe and rhythmic drive, for example. I also need to play “Kucano Oro” from MA Recordings ‘Old Country’ for its ultra-audiophile recording of Howard Levy, Mark Nauseff, and Miroslav Tadic performing unbelievable musical feats.  All these groups can be enjoyed at “loud enough” but not actual live music levels in one’s living room.

dogearedaudio's avatar
dogearedaudio
159 posts
 

_dalek_ wrote:

'So much is written about recreating the experience of having the music performers standing in front of you in your listening room."

Yes, but I think it's important to distinguish between "illusion" and "reality."  It would take a system of exceptional power and resolution to truly recreate a live (or studio) performance.  But even a modest system should give you "the whole picture" as much as possible.  I've heard modest systems that can do that.  I particularly recall a pair of Nestorovich speakers in a well-tuned room that did a very good job of projecting the performers in real space, though certainly not with real-world dynamics.

larsman's avatar
larsman
2,024 posts
 

I'm not interested in reproducing a live gig in my home; I'm interested in getting the best I can (with what I can afford) from what the producer put on the recording. The same live performance can sound completely different depending on the listening/recording vantage point. 

mijostyn's avatar
mijostyn
8,570 posts
 

You are talking about two separate issues. I can listen to Maria Caras sing on terrible old recordings and still be brought to tears. The artistry of the musician will shine through terrible sound.

Sound quality is a different issue. Saying violins sound like violins is a tautology. It means absolutely nothing. What I am looking for in sound quality is, with a good recording, the feeling that I am in front of a real instrument or orchestra/band. That takes the right amplitude response for the volume, the capability to image  3 dimensional objects in space with blackness between and powerful bass response below 100 Hz. The Dave Holland Quintet albums are a great example of recordings that can fool you into thinking you are in front of the band on a good system. I have seen the band three times at the Regatta Bar in Boston's Charles Hotel. Those recordings image that band perfectly.

The three octaves below 100 Hz are incredibly important to the visceral sensation of live music. In a residential setting 20 to 40 Hz has to be EQed up at least 6 dB with a low Q to approach the kind of power you get in a live setting. 

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