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John Curl's Blowtorch preamplifier part II
John Curl's Blowtorch preamplifier part II
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Old 28th November 2011, 08:36 PM   #18491
SY is offline SY  United States
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John Curl's Blowtorch preamplifier part II
Quote:
Originally Posted by PMA View Post
Last time I was thinking about this 2 weeks ago when I heard a small acoustical jazz combo (4 instruments) playing at the open space square (Hradcanske namesti) in front of the Prague castle. Such kind o natural, full and rich sound is never heard from any audio chain.
100% agreed. I know that square- great spot.
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Old 28th November 2011, 08:51 PM   #18492
jan.didden is online now jan.didden  Europe
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Originally Posted by PMA View Post
Last time I was thinking about this 2 weeks ago when I heard a small acoustical jazz combo (4 instruments) playing at the open space square (Hradcanske namesti) in front of the Prague castle.
slightly OT/
I've had a very impressive tour of the Prague Castle in rooms and areas off-limits for tourists. One of the perks of working for NATO.
You guys have so much culture that is only now going to be known to the rest of the world.
Hope I can return one time in the future.

jan
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Old 28th November 2011, 09:00 PM   #18493
Chris Hornbeck is offline Chris Hornbeck  United States
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Originally Posted by Joshua_G View Post
I find many of the current classical music recordings not as satisfactory as those from the "Golden Era". It seems like in the "Golden Era" recording engineers and producers paid attention to capture the ambiance atmosphere of live concerts. Most modern recordings capture excellent details by using multi-microphones, placed close to the musical instruments – but the overall sound is very far from attending live concert.
In America this is often blamed on orchestra costs and the requirements of technical perfection - small fixes to intonation or phrasing of a section can be made comparatively inexpensively - but I blame the influence of pop recording style. Folks who never hear live orchestral music think it *should* sound like you're standing in front of the conductor. And that the tiniest imperfection is a fatal flaw.

To my ear the bigger difference nowdays is that we have no more Barbarolli's, Beecham's, Reiner's, Munch's, Paray's, Dorati's etc. Plenty of good musicians today, sure, but how many of them actually *met* Brahms? Different world.

Thanks,
Chris
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Old 29th November 2011, 12:30 AM   #18494
scott wurcer is offline scott wurcer  United States
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Originally Posted by Chris Hornbeck View Post
In America this is often blamed on orchestra costs and the requirements of technical perfection - Thanks,
Chris
Very much to the point, FWIW the conductor is no longer allowed to be a tyrant and force repeat rehersals, so principles are chosen on their ability to read once and play to rote perfection. I have this from principles in the BSO arguably one of the worlds better orchestras.
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Old 29th November 2011, 01:27 AM   #18495
Bonsai is offline Bonsai  Europe
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Boston? Birmingham? Berlin?

;-)
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Old 29th November 2011, 02:11 AM   #18496
Rick Miller is offline Rick Miller  United States
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I agree with you John.
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Old 29th November 2011, 03:29 AM   #18497
Pano is offline Pano  United States
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John Curl's Blowtorch preamplifier part II
Don't any of these listening tests have immediate feedback? I've asked this before. If you have no feel for how you're doing, it's hard to get good at the test.

Just keeping a running score of right and wrong answers would be a help. Winning money would be even more motivation to get it right. But seeing your scores at the end of the test and not really remembering what you heard? Bah!
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Old 29th November 2011, 04:58 AM   #18498
Johnloudb is offline Johnloudb  United States
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Originally Posted by Pano View Post
Don't any of these listening tests have immediate feedback? I've asked this before. If you have no feel for how you're doing, it's hard to get good at the test.

Just keeping a running score of right and wrong answers would be a help. Winning money would be even more motivation to get it right. But seeing your scores at the end of the test and not really remembering what you heard? Bah!
I agree!!! Without letting people practice ahead of time, you're just setting people up for failure. Especially when people unfamiliar with the equipment they are listening to.
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Old 29th November 2011, 09:37 AM   #18499
Jakob2 is offline Jakob2  Germany
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Originally Posted by SY View Post
If you want an 2x preference test of doubtful use, sure, no need to put in negative controls. Or eliminate them and increase the number of trials so that the participants can have a "fatigue" excuse.
"Doubtful use" is obviously wrong because significant results are just that.

Raising the number of trials would not help wrt to missing negative controls, but would help if you donīt want to use a positive control. But then you have to do several hundred trials and that is not a realistic choice.

@ pano,

yes, that is done during the training before the "real event" .

To include a result feedback in a test is not a good idea as every trial should be independent from any other trial and that might be influenced by any feedback.
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Old 29th November 2011, 09:52 AM   #18500
Joao@AltheaMusica is offline Joao@AltheaMusica  Switzerland
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Just want to mention that when doing tests do it as long term version. Livung with the "test devices" for a longer term delay will be better because you have more daily moods.

For me, I like this listening to the "test device" for about months. IMO this will give open and straightforward results.
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