I don't know about that statement. I just got my first 911 Carrera, a new camera and bought enough parts to build two watches with Swiss movements. I'm doing these other things to do less audio. Surprise! Just finished a pair of FR speakers and building a new Power Follower amp.
To original poster, do whatever moves you forward. Do it for yourself and no one else.
Saw a vid yesterday of Siegfried Linkwitz and it doesn't look like he's doing well health wise. He's talking with Mike Fremer. At one point Sig says, "don't get hung up on graphs. They don't translate to what your hear." We've heard that before, but hearing him say it now left a deep impression on me. This is a man who knows test equipment, measurements and number. If he says trust yourself, then trust yourself.
Just marvel at the beauty of the sound!
We hail from different planets and that’s ok.
I was suggesting getting some fresh air in a tongue in cheek manner.
Perspective sometimes requires a little distance, so disconnecting for a bit or minimizing on-screen time can go a long way in balancing outlook.
The worlds greatest symphony playing in the worlds greatest concert hall is occurring around us in our natural world at all times.
If you are discontent my humble opinion based on my personal experience is that it likely has nothing to do with your hi-fi.
To clarify: my belief is that it’s not what I engage with but how I engage with it and it’s not what my goals are but how I seek to obtain them.
My suggestion would be that disengaging and taking a deeper dive would provide more fulfilling results.
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Other half has been on me for many years to get my hearing checked. I know there is an issue but I am in denial. Hope they don't get worse is all I can say.
Probably because the mix is terrible - especially the really loud and uncontrolled drum sound as it reverberates off all the hard surfaces in the pub.
And that comparison could only be really made if you had a recording of the pub band playing in the pub that was also played on the jukebox at the same volume (no-one would play it).
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I don't get this either, can there be more than one primary purpose?
Having read forums for years, I've discovered that yes there can.... couple it with a hobby of diy electronics and even more purposes arise.
I rambled a lot with my post before this (a bad habit) but essentially I was saying that people's ideas of "live music" are varied.
I'd go further and suggest that those who are in the business of making music and also those recording have had more experience of hearing sounds very close up and so there will be more desire to capture those in order to show what they here and enjoy (so they choose to close mic ). A VERY different sound to sitting many rows back in a big room where the sound you hear is of spaced individual sources all reflecting and bouncing in multiple ways at all delays and all at once with small pierces of direct sound popping out sometimes.
It's a valid motivation to create, in a recording, an experience one can't get anywhere else.. and I think that's a valid persuit with home hifi too. And if you're looking for these different experiences, there is no limit, no comparison to tell you when you should be satisfied - it's completely open ended for every sonic characteristic that floats one's boat.
And if an artist/musician/engineer wants to push forward and show their audience a characteristic of sound that they love via their recording method, then that is also part of the experience of art, even if it moves it away from anything that sounds "real" in a live context.
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I am fortunate to have a friend in live sound who does a lot of work for national acts and have listened to the setup and sound checks of large Myers Sound arrays in empty arenas. It’s really incredible to stand out in the middle of a huge venue and listen without distraction / noise of a huge audience.
For pub bands there’s usually far too much reflection in the enclosed space and everyone has their gear turned up to 11. Whomever is at the console is likely an amateur. Attention to detail isn’t a high priority. It’s a completely different ballgame. These days I try to wear earplugs in spaces like that, so I don’t walk out feeling like a bomb went off next to me. I’m not assessing audio quality but rather the music in a situation like that.
In either scenario I consider the venue and the person at the console part of the music. Those two things have similar control over the experience as the musicians.
Although, both can certainly be enjoyed and one should seek out the music they care about regardless of these details.
It’s funny to me that the question “does it sound like live music?” always crops up as a high priority for home gear.
Even some of the most enjoyable live music experiences I’ve had, well.... I’d rather not have it sound as it did live in my home.
Aside from classical music most albums aren’t recorded in one take live anyhow, so it would make perfect sense that it shouldn’t sound like it was live.
If you listen to amplified music, what live sound actually means is incredibly subjective and a moving target imho.
I’ll take the target experience of being in the studio at the console listening to the mix with volume control over a believable “live sound” any day.
Also a lot of the music I love has unfortunately been recorded poorly over the years so in some instances I’m also happy with making adjustments to mitigate some of the technical problems. The original artist’s intent was not captured in the recording anyhow and I could see them doing the same if they were still alive to play it back for themselves.
But in many cases I can’t bring myself to do it, in situations in which the music has already touched me in such a way that alterations, remastering, and other edits come across as wrong, even if they may be more objectively sound. My own personal aural memory becomes the master barometer.
In many cases the artists aren’t even sure what’s going on. I believe a full side of Bitches Brew was at the wrong speed for years and even the ever-obsessive Miles didn’t notice.
Funny that audiophile 180gram half speed mastered recordings of this album are for sale from many hifi labels so that you can listen to a perfect rendition of a mistake in all its glory.
Should the mistake be considered the real music at this point or something to be separated from it? Can it be called high fidelity? How do you define fidelity in this context?
The Robert Johnson 78’s we all know and love were all cut 20% too fast. What is the correct Robert Johnson to enjoy? Which is the superior “fidelity”? Can his intent be separated from the result? Is the “music” him in the hotel room or what reached the masses over many decades and touched us emotionally? Can music be discussed as a defined unit of measure existing in a cultural vacuum? Does it matter?
YouTube
YouTube
Imho if you get too hung up on the details you miss the larger existential picture.
For pub bands there’s usually far too much reflection in the enclosed space and everyone has their gear turned up to 11. Whomever is at the console is likely an amateur. Attention to detail isn’t a high priority. It’s a completely different ballgame. These days I try to wear earplugs in spaces like that, so I don’t walk out feeling like a bomb went off next to me. I’m not assessing audio quality but rather the music in a situation like that.
In either scenario I consider the venue and the person at the console part of the music. Those two things have similar control over the experience as the musicians.
Although, both can certainly be enjoyed and one should seek out the music they care about regardless of these details.
It’s funny to me that the question “does it sound like live music?” always crops up as a high priority for home gear.
Even some of the most enjoyable live music experiences I’ve had, well.... I’d rather not have it sound as it did live in my home.
Aside from classical music most albums aren’t recorded in one take live anyhow, so it would make perfect sense that it shouldn’t sound like it was live.
If you listen to amplified music, what live sound actually means is incredibly subjective and a moving target imho.
I’ll take the target experience of being in the studio at the console listening to the mix with volume control over a believable “live sound” any day.
Also a lot of the music I love has unfortunately been recorded poorly over the years so in some instances I’m also happy with making adjustments to mitigate some of the technical problems. The original artist’s intent was not captured in the recording anyhow and I could see them doing the same if they were still alive to play it back for themselves.
But in many cases I can’t bring myself to do it, in situations in which the music has already touched me in such a way that alterations, remastering, and other edits come across as wrong, even if they may be more objectively sound. My own personal aural memory becomes the master barometer.
In many cases the artists aren’t even sure what’s going on. I believe a full side of Bitches Brew was at the wrong speed for years and even the ever-obsessive Miles didn’t notice.
Funny that audiophile 180gram half speed mastered recordings of this album are for sale from many hifi labels so that you can listen to a perfect rendition of a mistake in all its glory.
Should the mistake be considered the real music at this point or something to be separated from it? Can it be called high fidelity? How do you define fidelity in this context?
The Robert Johnson 78’s we all know and love were all cut 20% too fast. What is the correct Robert Johnson to enjoy? Which is the superior “fidelity”? Can his intent be separated from the result? Is the “music” him in the hotel room or what reached the masses over many decades and touched us emotionally? Can music be discussed as a defined unit of measure existing in a cultural vacuum? Does it matter?
YouTube
YouTube
Imho if you get too hung up on the details you miss the larger existential picture.
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fine - never really done pub gigs. But there's plenty of small venues in these parts where you get quality new bands, and well know musos,with no aggro, just folk wanting to listen... Lucky, perhaps.
The elements
My coffee comes in different flavours - Thorens TD124/Sota Comet & CJ Walker 55 or Sony SACD/Audiolab 8200CDQ
Lightning bolts are my stacked Quad ESls
But I do prefer a warm vacuum (of the tube variety) for my RIAA
My coffee comes in different flavours - Thorens TD124/Sota Comet & CJ Walker 55 or Sony SACD/Audiolab 8200CDQ
Lightning bolts are my stacked Quad ESls
But I do prefer a warm vacuum (of the tube variety) for my RIAA
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