This is one area where THD recording quality is paramount. I have many where the sound is as you describe. And others where, for whatever reason, the recording is bad and the violins have a horrible screech to them. Then there the ones, on a stereo recording, where the violins are in mono . . . And they screech.
Fortunately, I find that ongoing tweaking and fine tuning does bring those "bad" ones around - this is why I don't need normal testing gear to tell me where I'm at, those types of "difficult" recordings are doing all the measuring I need, 
. This is when the more subtle aspects of interference, mains power cleansing, concerns with physically stabilising of electrical parts become all important - bit by bit the screechiness, etc, is brought under control, most importantly from the subjective POV.
Can be a long-winded and frustrating effort to get the last gremlin isolated, but I've found it's always possible to do ...
. This is when the more subtle aspects of interference, mains power cleansing, concerns with physically stabilising of electrical parts become all important - bit by bit the screechiness, etc, is brought under control, most importantly from the subjective POV. Can be a long-winded and frustrating effort to get the last gremlin isolated, but I've found it's always possible to do ...
What are you using for a reference when comparing recordings, i usually like to go between two different cans to seem if the recording is really at fault ...
I am now listening to a vinyl of 'Victory at Sea' recorded perhaps 60 years ago, from a used record that I paid less than $1 for. Of course there are a few problems, BUT the essence is coming through, with VERY FEW ticks and pops. Wonderful! That's what you can get with $50,000 invested in a system! '-)
Then here's another approach .
If you accept ' sampling ' et al (auraly not politicly)
MIDI transcends so many barriers ! ... :
http://home.comcast.net/~mnjmiller/orient.mid
Credit where it is due :
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High SPLs yes without triggering the brain's defense mechanism' against 'loudness' which you referred to earlier. But not only loud, also long. Seems not uncommon with listeners to headphone systems that they can't listen for more than X hours without getting a headache. That's a sign that something's amiss with the electronics - too much noise is being amplified confusing the brain's ability to make sense of the material. Result - listening fatigue.
@Dan - vocals are indeed a stringent test. I was listening to a wonderful Decca recording of 'La Traviata' only last week and picked up a grounding error in my prototype DAC from the sibilance introduced on voices. Operatic voices are particularly revealing of this it seems - hadn't noticed it on regular choral singing.
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I'm one of those for whom headphones do not work, as a subjectively satisfying experience. Have tried several times, with top notch units, and I last about 5 minutes at the most. Yes, I'm familar with the concept of the Realizer, but I doubt very much that would be enough - there's just something about the closed away from other sound sense about it which I find disturbing.
What you said about 'not sounding different from other sounds' Frank I think explains the dire state of systems at shows. If the sound doesn't sound like other sounds around, that draws attention to the system, which after all is what they wanna sell. So systems that sound like an open window get no attention and wouldn't fare well at shows.
Makes sense, ... the best sound at the last show had one other person listening apart from me and the chap demo'ing, and there wasn't a crush at the door of people trying to get in - one of the worst sounds was with the dealer of Naim gear - classic, in your face, hifi sound, and that room was jam packed ...
... the best sound at the last show had one other person listening apart from me and the chap demo'ing, and there wasn't a crush at the door of people trying to get in - one of the worst sounds was with the dealer of Naim gear - classic, in your face, hifi sound, and that room was jam packed ...
Not for listening pleasure , for use as a tool, recording details and balance , invaluable when working with unfamiliar recordings .....
You should be able to tell if a recording is good on a decent system.
Ssome great quality recordings (holographic, good strings, great frequency extension: Diana Krall Live in Paris, Yo-Yo Ma Songs of Joy and Peace (but there is a hint of vocal sibilance in the 2nd track!). I've also got some SACD's by Pratum Integrum, I Russian Baroque music ensemble that are recorded by a Dutch outfit using very high quality mics and purpose built microphone amplifiers - fabulous sound staging and dynamics.
Worst album : Accellerate - REM - compressed and lifeless. Really a wall of noise to my ears. I actually threw the CD into the bin - no kidding. What the hell else can you do with something like that?
I put some reviews up (link below). I value a good soundstage BTW - to my ears its the difference between a really good listening experiance and a mediocre one. Unfortunately, the recording plays a huge role in this, and unless done right, this is easily lost. I dont think its the difference between tubes and SS - the spatial magic can be produced equally well by either if its on the source recording.
Record Reviews
I was listening to this one doing my DAC development last Xmas season. A year on and I have a tad more transparency. Normally Ms Krall's is a reference for a totally non-sibilant voice, but here its just not as clear as normal. I hear that 'DSD softness' on this disc through my current DAC and wonder if that has something to do with it?
Interesting mix, bonsai - had a quick look to check for telling overlaps, and one stands out: Matt Bianco by Matt Bianco. This was a favourite at the time, we used to listen to it regularly - a very intense, driving sound, a perfect recording for evaluating power supply stability; its downside is that any weakness in playback is amplified enormously, it becomes impossible to listen to ...
I used to hang out with Julian Vereker of Naim while in London and in Berkeley. He tried for the best high fidelity possible. OF COURSE, when you design speakers, as well as electronics, you are going to have a specific sound from that source. I told Julian in 1976, that I agreed with him that he did great 'door bells' but the rest needed some work.
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