Creation of a Huge Sound-Stage.

[gobble]

Flat-earthers are people who still believe that the earth is flat, as opposed to globularists.

PRaT stands for Pace, Rythm and Timing

Go figure!

I don't believe there are serious audiophiles out there that don't care about soundstage , I guess they focus on getting prat right and trust the recording and/or system to reproduce a decent soundstage.

Motivated by this thread, I listened to Eagles live yesterday and the sound of the audience clapping was satisfactorily reproduced - wide and well beyond the speakers, even curving forward at the walled ends.

So that's what I meant about not caring if certain tracks sound like everybody's standing on each others toes or if the mridangam'ist is sitting in the violinist' lap who is in turn sitting in the vocalists lap all three of whom are crushing the hapless tanpura player lying prostrate under their combined weight

It's the recording - stupid!!!

Sent from my iPod touch

 

[Rajiv]

Hi,

John Atkinson's thoughts on soundstaging.

Stereophile:

Regards
Rajiv

 

[odyssey]

I don't believe there are serious audiophiles out there that don't care about soundstage , I guess they focus on getting prat right and trust the recording and/or system to reproduce a decent soundstage.

Motivated by this thread, I listened to Eagles live yesterday and the sound of the audience clapping was satisfactorily reproduced - wide and well beyond the speakers, even curving forward at the walled ends.

So that's what I meant about not caring if certain tracks sound like everybody's standing on each others toes or if the mridangam'ist is sitting in the violinist' lap who is in turn sitting in the vocalists lap all three of whom are crushing the hapless tanpura player lying prostrate under their combined weight

It's the recording - stupid!!!

Sent from my iPod touch

Hi
IMO there are quite a few who dont give it that much importance - if its there, fine, if not, fine. Mostly I think this goes for the purists who crave for tone, timbre - realism of voices and instruments. If you look at the Japanese audiophile purists, they pay a lot of importance to tone/timbre and even real dynamics, but dont care too much about imaging and soundstage. They are all for placing huge horn speakers in 10 x 10 rooms...

 

[Rajiv]

Hi
IMO there are quite a few who dont give it that much importance - if its there, fine, if not, fine. Mostly I think this goes for the purists who crave for tone, timbre - realism of voices and instruments. If you look at the Japanese audiophile purists, they pay a lot of importance to tone/timbre and even real dynamics, but dont care too much about imaging and soundstage. They are all for placing huge horn speakers in 10 x 10 rooms...

Sounds familiar .:lol::lol:

Regards
Rajiv

 

[thevortex]

Sounds familiar .:lol::lol:

Regards
Rajiv

I was just going to say that, Rajiv

 

[srramanujam]

I was just going to say that, Rajiv

+1

Horn speakers and four adults in a 10 X 10 room for four hours, and the adults were slightly bigger than average japanese.

 

[gobble]

+1

Horn speakers and four adults in a 10 X 10 room for four hours, and the adults were slightly bigger than average japanese.

+10
Better than speakers and 4 horny adults in a 10x10 room for four hours .... or no ? hyeah:

Cheers

 

[iaudio]

I was just going to say that, Rajiv

Bala, That makes two of us!

 

[arj]

having heard and loved the Yamamura House sound, This is a Horn system id really like to have

 

[ajay124]

@rajiv
From John Atkinson's review---(highlights mine)
"With classical recording, we do have an original event. Composer, conductor, musicians, and even the designers of concert halls, work very hard to ensure that the listener to live classical music is presented with a real, musically balanced, image. All that is necessary, it might therefore be thought, is to record that image in such a manner that all spatial relationships are preserved as amplitude relationships between the two signal channels. Both a real stereo image and a true soundstage will be the undoubted outcome.
Yes, you're right. It hardly ever happens!
In general, classical recordings from major companies are produced as if they were rock recordings. Each instrument or group of instruments is allocated its own microphone, and the balance engineer panpots the mike outputs into an arc across the stereo stage, sometimes adjusting their levels to approximate the real-life balance, very often to "improve" on what the composer thought correct. Ambience microphones introduce pools of reverberation at strategic locations; sometimes even electronic reverberation is added to an otherwise completed picture to fill in the gaps and create an artificial soundstage. The result, given gifted producers and engineers, can bear a surprisingly close resemblance to a real soundstage. When you listen critically, however, the joins between the elements of the collage can become all too clear, particularly if the playback mediumhow can I say it?throws away some of the fine detail obscuring those joins. Again we have a true stereo image, but a soundstage? Not nearly often enough."

Does this explain why the 60's and 70's classical and jazz recordings sound better than the modern recordings?I remember listening to many jazz cd's at Viren Bakshi's place(he had bought these cd's many decades back) and the music sounded much better than the same recordings on my CD'S(remastered in the 90's or later).I asked Viren what could be the reason and he felt that possibly many of the new generation of sound engineers remastering these cd's had limited knowledge of jazz music and they treated these recordings just like any other contemporary music.

 

[Rajiv]

Hi,

Posting a message from Chris Beeching from the Quad Yahoo Groups.

This is a disscussion on amps having a soundstage.

Regards
Rajiv

......Pinpoint 'accuracy' in a home audio system is an artificial artefact.


Picture this. You are at a live concert with a large orchestra playing away. In a quiet section you hear the triangle struck a few times. Can you pinpoint it? No. It's 'over there somewhere', its sound reflected by many other adjacent surfaces before it reaches you.


Similarly, you are at a live jazz gig in an intimate setting. If you ask the double-bass player which part of his instrument makes the sound he'll look at you with disbelief. It's the whole thing, and they're not small!.


Besides which, as an organist myself (classical church type), some organs have remote sections. The main part of the organ in Lichfield cathedral is above the choir stalls, but the pedal pipes are round the corner in the transept.


Sorry, but a sound is inextricably (or inextractably??) linked to and with the space in which it is recorded.


Anything other than that is a falsehood.


And if you listen carefully, even on the very closely-miked recording of Ton's Diner by Suzanne Vega, if your system has sufficient resolution you can still hear the effects of the studio environment surrounding her voice.


Pinpoint accuracy doesn't exist in real life (any more than perfect ears to detect it), so why expect it from a home audio system?


Chris Beeching

 

[arj]

Hi Rajiv, Purely rom my perspective Live and recorded are totally different experiences and trying to make one sound like the other will only make things worse
in a live performance, the visual imagery plays a very important fact. the visual impact of seeing energy in a musician can override any lack of passion in the instrument. similarly the physical soundstage can allow one to ignore the aspect of where the instrument is "sonically"

but during playing a recording of that event (not even considering the fact that the recording itself has been changed by the recording engineer and made more pin point), we need to have some cues of imagining and visualising the soundstage to get the same

I would still like some pin point imaging to give me that experience