Yes, and he’s frequently guilty of that which he charges.
The cycle goes something like this: he misreads or misinterprets something, gets offended, and posts a wall of poorly written text that only loosely makes sense along with a Taliban cartoon.
I cannot judge what is technically 'right' if I was not at the recording, so I accept the limitations and get on with the enjoyment. This may make me a heathen but I don't care
But there was a huge bunfight when they blindfolded the violinists and asked them to pick the one they preferred. I am not going to defend the conclusion by the way as I accept the mystique of a Strad or Guerneri and love hearing musicians waxing lyrical about the instrument they have been loaned by a hedge fund to play on.
Where did you see that brigade?
No, he rides on one of those so called "high horse" as quoted below.Think about it for a moment (not meant offensive).
Maybe he was just asking for the different appreciation/judgement about subjective listening impressions wrt to the inevitable impact of all thinkable bias effects.
So, if you assert that the "sighted" listeners always suffer from their preconception it is a legitimate question which way you avoided that trap.
Don't get me wrong, I'm just wondering whether the use of this word is permitted. It's a literal thing.
Yes, I agree, but what I am talking about is how a violin sounds two inches away from the left ear of the violinist. Something they have to listen to day in day out quite often for many years, and is why they become so attached to their instruments. As a violinist matures and musically progresses, it is not uncommon that they fall out love with a perfectly good violin, and feel compelled to move on to something new.
ToS
I cannot judge what is technically 'right' if I was not at the recording, so I accept the limitations and get on with the enjoyment. This may make me a heathen but I don't care
Here again, miscommunications ....
Technically right measurements of the gear.....not the recording.
The ‘it’ I speak of comes and goes with changes/tuning in/of the gear.
On the subject of instrument tone.....
It’s why people pay big money for original Martin d-28’s......it’s all about the tone!
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May-i report a personal experience ?
When my son was young he manifested the desire to have an electric guitar.
So I bought for him a little cheap chinese copy of a fender Telecaster on a web site and we visited a friend that I take as one of the greatest guitarists I had met.
Despite the guitar was too little for him, not the string's gauges he prefers, despite he was the owner of some of the best guitars some can find, he made to him, in 5 minutes of pure tenderness with this baby guitar, a demonstration of near all the styles of rhythmics and solos that exists. RnR, Hard rock, Blues, country, West coast, Folk, funk, RnB, Jazz, reggae, slide, fingerpicking etc.
So groovy, so intimate, I will never forget. He was just like a phaser putting his son on his first bicycle.
My son told-me last week that he was so disgusted to had never been able to even approach no one of those sounds.
Well when this old friend/ brother is on a stage, playing a blues on his Gibson 335, I'm never impressed. I just have tears in my eyes and love in my heart.
IMO it is still impossible to capture faithfully the "sound" of even a single instrument like a violin or whatever else. It is also impossible to re-create an original sound field (where, at which place, what direction .....). We may approach to a degree, but never get and hear the same sound. It is acoustically and technically impossible.
Perhaps reading post #22383 will refresh your memory of the "priests".
When it comes to aural memory, it's fresher the better. So your thinking is wrong.
There is a big difference between attacking and defending himself against a personal attack. Once the war is initiated, victims are both side because arms are both side the same and the field chosen by the attacker. Some are strong enough to hold the other cheek, I apologies to not be strong enough. As an effort, I will keep-you back in my ignore list.
I also notice that every time I try a gesture of appeasement, it is received by a barrage of artillery.
Beautiful examples in the above.
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Interesting points. I particularly enjoy the quality of many jazz recordings from the 50's but I put this down mainly to the directness and lack of processing preserving the signal integrity, not so much the use of valve equipment.
You have to do it manually.
After pressing the "quote button" of a post you'll see the original text message enclosed by "quote tags" (these are within the square brackets), so
"square bracket QUOTE square bracket" starts a quotation box and "square bracket /QUOTE square bracket" closes the quotation box, the text between the tags will be presented within the quotation box.
When answering or editing you´ll find the icon to wrap quote tags around text above the text box.
Edit: Just use the "multiquote" button to mark every post you want to combine and then hit the "quote" button
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Tell him about the Heritage Guitars. Built by hand with the old Gibson tools in the old Gibson factory, I consider their H-535 as a much better "original" version of the 335.
Sure. That gives, on my side, all the value to your inputs.Btw, I had been an EE too, but I know and acknowledge the limit of engineering...
Don't get too twisted into pretzels over it - I don't know what the right cues are but I take my lead from the little we know about the workings of auditory perception & try to work backwards. Auditory perception is continually categorising elements in the evolving soundscape into the various streams in that soundscape. In other words if we are listening to an orchestra, what's hitting our ears is a mixture of pressure waves at each moment in time. Our auditory perception is doing the job of separating the parts of this pressure wave that belong to the oboe, the clarinet, the first violin, second violin, etc even though there's a lot of overlap in the frequencies between played by each of these instruments. A tough job that requires a lot of analysis & relies on our subconscious knowledge of sound patterns & the behavior of sound (our internal schemas). So if the expected pattern is disturbed at any point, the stream pattern is disturbed & it causes a type of resetting of that stream analysis which has to be rebuilt. This is not a conscious thing, it all goes on below our conscious level but what does rise to consciousness is the unease caused as a result of this resetting.That all makes sense but there’s still the question of what has to be ‘right’ or even wrong for that matter......it might very well be a certain combination of wrong that adds up to right! Yah...on the third cup this morning!
So the disturbance in the pattern i.e mismatch in the nerve stream pattern Vs the internal pattern (this is very crude explanation of what is happening just to serve the purpose of explanation) could be a timing, frequency, amplitude issue anywhere along the stream. But the sound streams of various instruments runs for the length of the recording so is an FFT a suitable approach to investigating this?
This may all sound very speculative but it is based on my understanding so far of auditory processing - the study of these processes is called Auditory Scene Analysis - how we process an auditory scene into auditory objects & auditory streams which makes sense of the world. The equivalent in visual perception is Visual Scene Analysis or how we make sense of the visual world based on nerve impulses on the optic nerves
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I have a Furtwangler vinyl of a performance he conducted in the late 1950’s or early 60’s of one of Beethoven’s Symphonies. 180g the whole toot. Have to be honest and say I can’t stand it. I’m used to Von Karajan and Furtwangler’s recording races along and to my sensibilities lacks the grace and majesty of the Von Karajan recordings.
I just don’t understand what the fuss over him was all about
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