Ultra high resolution

Dave- If you play a lot of gigs, you can probably tell the difference between Zildjians and Sabians when listening to a good system. Likewise- Can probably appreciate a soundman that knows what a Les Paul(or Strat, etc.) are supposed to sound like(w/o effects) when fed direct, so he can EQ the channel. It takes a love/desire for, a dedication to, and a familiarity with, the real thing to train oneself to recognize the nuances of individual instruments(not to mention- years). The venues are another story altogether. The bottom line is this though: What makes us happy and what makes someone else happy are never going to be about "right" and "wrong". It's all subjective. Some people like Chef Boy-R-Dee pizza(which I'll NEVER understand). But- If we all had the same tastes this would be a really boring world. NOW- It's different if you hire me to do your group's sound, or correct the acoutics in your concert hall. If I don't know what I'm doing/can't hear: Your group will sound lousy, the venue may be an acoustic nightmare. That's wrong and there are a bunch of those out there that need their fingernails extracted with.... Oh never mind! But- I'll never tell someone what pleases him in the privacy of his listening room is wrong, even though I find some notions really bizarre.

Yeah, as you know, us trumpeters have a love/hate relationship with our soundmen. I actually worked a funk/rock/soul band for several years in Dallas that had TWO world class soundmen. One won and Emmy for sound and the other owns the original Jam studio that jingles for the likes of Dick Clark, BBC, WABC, etc. UNFORTUNATELY, they played 2d trumpet and keyboards and our full time guy was a carpenter by trade. With their help and a couple of years of seasoning he actually got decent. (I could tell stories, but we'd need a new thread).

I DO appreciate how hard your job can be and love it when I hear it done correctly. It's doubly nice to be in a band and have the stage sound wonderful and the house sound so good that people are talking about it. I know how hard that is to achieve.

I've got a great new album called "Cannon Reloaded", a tribute to Cannonball Adderley. Unfortunately Terence Blanchard's trumpet has a little hard edge due to mic choice or compression. Oh, I hate that, but I know that a big blower like Terence can drive the sound men wild.

Anyway, we're on the same page. I'm amazed that someone could hear the richness of the real thing and then want something watered down. Oh well...

Dave

Dave- I'll bet you'd enjoy 'A Twist of Motown' on GRP(if you don't already have it). Lee Ritenour produced it(a lot of contemporary jazz greats doing a collection of motown standards). On a couple cuts the bass can get a tad heavy, but other than that it's engineered really well. Chris Botti's kickin' it on Papa Was a Rollin' Stone.

I've got several GRPs and all are well recorded. I'll order "A Twist..." next time I order CDs. I like Rit and Botti and GRP, so how can I go wrong.

Dave

One caveat Dave: If you listen at realistic SPLs, and have woofers with output in the bottom octave(20 to 40hz on CDs anyway):turn the volume down a bit for cuts #4 and #8. If the CD doesn't generate some serious toe-tappin': check your pulse!! Happy listening:)