For me it all about the Tone.................who made the tone ....well there so much..
funny if the speaker off...then who made the tone comes in,but this dose not hapen to me much.....I just pull out the Apogee Stages.....an now have the Acoustat M3 type fulrange in...
later to day i feel i well put in the ML.....an in a sec i have anyone i can name.... or you.............................................................justsaying dose it get any better
Do i have a $5k Krell D/A that sounds better than my Lap top...Yes...but all my CDs sound diff.....the lap top gives great tone....an anyone you name...till i just fall out....................For free
funny if the speaker off...then who made the tone comes in,but this dose not hapen to me much.....I just pull out the Apogee Stages.....an now have the Acoustat M3 type fulrange in...
later to day i feel i well put in the ML.....an in a sec i have anyone i can name.... or you.............................................................justsaying dose it get any better
Do i have a $5k Krell D/A that sounds better than my Lap top...Yes...but all my CDs sound diff.....the lap top gives great tone....an anyone you name...till i just fall out....................For free
With MP3's it's all about the highest bit rate. Does your audio system have phase control and sound retriever? That will smooth out mp3's and CD's.
Korn records at NGR Recording, North Hollywood, CA. Mixed by Brendan O'Brien. Digitally edited by Don Tyler.
So far we agree. Indeed I completely agree with your comments on "synthetic" and/or close miked performances.
And now you lose me. The aim of the music room should be to be as anechoic as practicable at the front with a little reverb from behind (to provide some artificial sound-from-behind) for stereo.
IFF (IF and only IF) you have your mikes placed properly then your room (and ESLs/Ribbons whatever) should be reproducing the sound of the venue.
If not, your room is broken
To put it another way - I don't want the sound of the orchestra in my room - I want the sound of the orchestra in the venue they are playing in!
The point of my stereo is to reproduce the live sound.
Like making wine from good grapes, the question is how little we can screw it up.
Pardon? I go to a lot of live concerts and specifically those which do not require the use of "sound reenforcement"
Yes, there is a whole range of music (such as Pink Floyd - indeed about 99% of the "pop" canon) which has no real-world reference. While it is a valid art form (and hugely enjoyable) it IS NOT a reference of any value for determining fidelity. By definition - it is synthetic.
To that end live, acoustic and (as you point out) remotely miked sound is the only thing that can stand up as a "reference"
Thanks for noticing my remarks, although you seem to be the only one. And I can see you have given some thought to these issues and struggled with some DIY principles of acoustics. For sure you should read Toole's great book.
There is no way to make your music room sound like the Sidney Opera House, even with just a violinist playing. The goal of a good recording is to deliver the composer's score or intentions to you. Or that may also be described as reproducing some aspects of a concert-hall experience re-interpreted for our little rooms.
To that end, the music producer cranks up parts where the producer thinks Beethoven meant for you to hear the flute prominently, just as you would do for yourself in a concert hall through shifts of attention... but can't do with a stereo at home.
I've heard Mahler's enormous 3rd Sym at home (last night) and in the enormous non-proscenium Concertgebouw. But if I close my eyes listening at home, I am not transported to Amsterdam but to Vienna.
Ben
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What do think ...your the only ones that know this............................Justsaying
Heres what Wreckingball posted
I am not starting a thread to rate artists and their music, but am trying to find music from any genre, in any language regardless of their place on the globe , that would be ear-opening and worthy of checking out, because the sound engineers happen to know what they are doing.
Heres what Wreckingball posted
I am not starting a thread to rate artists and their music, but am trying to find music from any genre, in any language regardless of their place on the globe , that would be ear-opening and worthy of checking out, because the sound engineers happen to know what they are doing.
Someone brought up Solar Fields and this is a fine example of where Acoustats shine. I'm not the greatest with descriptors, but Solar Fields absolutely depends on extreme low level detail and spatial cueing to hear completely what the artist intended. On lesser systems the music detail is obscured and becomes somewhat lifeless. It's something you might never notice with conventional loudspeakers, and only shows itself with Estats. Maybe someone else can explain it better.
Hi, it's just me again..
I had a chance today, away from my busy schedule, to add my little bit to this thread I've created...🙂
Before I do, I'd like to state my case as far as 'all recordings are cooked' ...
My reaction? "of course they are".
But which ones are cooked the best? Which one 'tastes' the best? (being we're using a cooking metaphor here)
Well, I was revisiting some Stevie Ray Vaughan I hadn't listened to in a while, and I have to say that out of all the tracks, Tin Pan Ally has to be my favorite. It's funny, no other track on that album is recorded as well.
I really love the sparseness of this track, makes it a joy to listen to...
Tin Pan Ally:
Tin Pan Alley (AKA Roughest Place In Town) - YouTube
I mentioned Supertramp in my first post, and while all of their recordings are top notch, I'd have to say that "School" is my favorite, all of the layered instruments, the kids recorded (seemingly on a playground) really wake me up, and perk my aged ears.
School:
Supetramp - School - YouTube
I haven't mentioned Jazz, but I find it to be immersing and relaxing if captured well.
This one is captured well for it's year, there is no 'bottom' to it, but the snare drum with that coated batter-head makes up for it, far as I'm concerned.
Blue in Green by. Miles Davis - YouTube
Thanks in advance for listening
-wreck
I had a chance today, away from my busy schedule, to add my little bit to this thread I've created...🙂Before I do, I'd like to state my case as far as 'all recordings are cooked' ...
My reaction? "of course they are".
But which ones are cooked the best? Which one 'tastes' the best? (being we're using a cooking metaphor here)
Well, I was revisiting some Stevie Ray Vaughan I hadn't listened to in a while, and I have to say that out of all the tracks, Tin Pan Ally has to be my favorite. It's funny, no other track on that album is recorded as well.
I really love the sparseness of this track, makes it a joy to listen to...
Tin Pan Ally:
Tin Pan Alley (AKA Roughest Place In Town) - YouTube
I mentioned Supertramp in my first post, and while all of their recordings are top notch, I'd have to say that "School" is my favorite, all of the layered instruments, the kids recorded (seemingly on a playground) really wake me up, and perk my aged ears.
School:
Supetramp - School - YouTube
I haven't mentioned Jazz, but I find it to be immersing and relaxing if captured well.
This one is captured well for it's year, there is no 'bottom' to it, but the snare drum with that coated batter-head makes up for it, far as I'm concerned.
Blue in Green by. Miles Davis - YouTube
Thanks in advance for listening
-wreck
After some consideration, I will agree this could just become a "my favorite music" thread without any reference to WHY the music shines especially on ACOUSTATS. So here's my first entry, and I'll try to elaborate on my choice.
Shpongle-Are You Shpongled? (Full Album)
From Wkipedia:
Shpongle is an English psychedelic music project formed in 1996. The group includes Simon Posford (aka Hallucinogen) and Raja Ram (one third of The Infinity Project). The duo are considered to be one of the progenitors of the psybient genre - a genre combining world music with psychedelic trance and ambient. Their musical style combines traditional music from all over the globe and vocals with contemporary western synthesizer-based psychedelic music. When asked to describe Shpongle's music, Posford has responded that it is "like nothing you've ever heard before."[1] Shpongle's first track, "Vapour Rumours", was released on TIP Records' Infinite Excursions compilation in 1996.[2] Their debut album, Are You Shpongled?, was released in 1998 on Twisted Records. On September 9th, 2014, Simon Posford confirmed that work has begun on a sixth album.
Posford is generally responsible for the synthesizers, studio work, and live instrumentation while Raja Ram contributes broad musical concepts and flute arrangements. Raja Ram stated in an interview that "Shpongle" is an umbrella term for feeling positive and euphoric emotions.[3] Shpongle's music is heavily influenced by psychedelic experiences and frequently makes use of sonic textures that approximate psychedelic states as well as vocal samples relating to consciousness expansion, hallucinations, and altered states of awareness. For example, the track, "A New Way to Say 'Hooray,'" contains a vocal sample of Terence McKenna describing the effects of DMT, and the most popular song from their first album, 'Divine Moments of Truth', alludes to DMT in its initialism.
The song "Divine Moments of Truth" is a tribute to the psychoactive drug Dimethyltryptamine (DMT).
"Monster Hit" contains a female vocal sample from sample CD "Deepest India" by Zero-G.
The throat singing in the beginning of "Divine Moments of Truth" is taken from a sample CD called Vocal Planet by Spectrasonics.
The track "Vapour Rumours" contains a sample from the 1990s The Outer Limits series' Second Soul episode.
"Behind Closed Eyelids" features a section of speech from an interview with Aldous Huxley from which the title is derived.
My commentary:
I hear people use the term "synthesizer music", usually in a sneering derogatory way. But imagine if you could make any sound imaginable. What would that sound be? Now extend that to a whole album... If you had control of every note, texture, harmonic, sub-harmonic, rhythm, style etc. what would your statement piece be?
Make no mistake, this album is made by people who get high, for people who get high. I personally make no endorsement or condemnation of your chosen lifestyle. All I CAN say is that you don't need to be high to appreciate the absolutely groundbreaking musical frontiers this album presents.
Every sound from beginning to end is carefully crafted, flowing from one sonic concept to another seamlessly, presenting a complete tapestry, a journey through a limitless universe created especially for you. All done with a sense of wonder, joy and humor absent in many other "synthesized" works.
In short, give it a listen. Kick back with the lights down low, maybe an adult beverage beside you and enjoy the journey! You'll hear why I chose this. Or not...
Shpongle-Are You Shpongled? (Full Album)
From Wkipedia:
Shpongle is an English psychedelic music project formed in 1996. The group includes Simon Posford (aka Hallucinogen) and Raja Ram (one third of The Infinity Project). The duo are considered to be one of the progenitors of the psybient genre - a genre combining world music with psychedelic trance and ambient. Their musical style combines traditional music from all over the globe and vocals with contemporary western synthesizer-based psychedelic music. When asked to describe Shpongle's music, Posford has responded that it is "like nothing you've ever heard before."[1] Shpongle's first track, "Vapour Rumours", was released on TIP Records' Infinite Excursions compilation in 1996.[2] Their debut album, Are You Shpongled?, was released in 1998 on Twisted Records. On September 9th, 2014, Simon Posford confirmed that work has begun on a sixth album.
Posford is generally responsible for the synthesizers, studio work, and live instrumentation while Raja Ram contributes broad musical concepts and flute arrangements. Raja Ram stated in an interview that "Shpongle" is an umbrella term for feeling positive and euphoric emotions.[3] Shpongle's music is heavily influenced by psychedelic experiences and frequently makes use of sonic textures that approximate psychedelic states as well as vocal samples relating to consciousness expansion, hallucinations, and altered states of awareness. For example, the track, "A New Way to Say 'Hooray,'" contains a vocal sample of Terence McKenna describing the effects of DMT, and the most popular song from their first album, 'Divine Moments of Truth', alludes to DMT in its initialism.
The song "Divine Moments of Truth" is a tribute to the psychoactive drug Dimethyltryptamine (DMT).
"Monster Hit" contains a female vocal sample from sample CD "Deepest India" by Zero-G.
The throat singing in the beginning of "Divine Moments of Truth" is taken from a sample CD called Vocal Planet by Spectrasonics.
The track "Vapour Rumours" contains a sample from the 1990s The Outer Limits series' Second Soul episode.
"Behind Closed Eyelids" features a section of speech from an interview with Aldous Huxley from which the title is derived.
My commentary:
I hear people use the term "synthesizer music", usually in a sneering derogatory way. But imagine if you could make any sound imaginable. What would that sound be? Now extend that to a whole album... If you had control of every note, texture, harmonic, sub-harmonic, rhythm, style etc. what would your statement piece be?
Make no mistake, this album is made by people who get high, for people who get high. I personally make no endorsement or condemnation of your chosen lifestyle. All I CAN say is that you don't need to be high to appreciate the absolutely groundbreaking musical frontiers this album presents.
Every sound from beginning to end is carefully crafted, flowing from one sonic concept to another seamlessly, presenting a complete tapestry, a journey through a limitless universe created especially for you. All done with a sense of wonder, joy and humor absent in many other "synthesized" works.
In short, give it a listen. Kick back with the lights down low, maybe an adult beverage beside you and enjoy the journey! You'll hear why I chose this. Or not...
Stevan Pasero-Jambossa (samples)
From the WWW:
Stevan Pasero is recognized worldwide as one of the most influential & versatile guitarists of the past two decades. He has transcribed 30 major symphonic works, performed on over 300 CDs, produced 1000 masters for other artists, & composed over 1500 songs. He is one of a few guitarists to record in several music idioms successfully, bridging both classical, jazz & world markets. Fans and critics say that Stevan Pasero ((Stevan Pasero) is one of the music world’s best kept secrets, even though his CDs have sold cumulatively more than 15 million copies around the globe. His music is found in over 70 countries worldwide.
In addition to his own projects, Mr. Pasero is in high demand as music producer and has produced numerous recordings for notable artists. He has also produced music for some of the most brand-conscious companies in the world including a series of 20 CDs for the National Geographic Society, as well as Sharper Image, Pottery Barn, Hewlett Packard, Tommy Bahama, Hard Rock Café, Discovery, Kimpton, Banana Republic, Starwood, to name just a few.
Stevan’s newest album just released, Twelve Shades of Night, was written in 12 months, recorded in 12 weeks, mixed in 12 days, and was inspired by the 12 hours of night. This new album of original compositions integrates Stevan's love of Brazilian, Spanish & American music along with bossa nova, rhumba, flamenco, classical and jazz styles. Stevan's new ensemble features the rhythmic cadences of Felix de Lola on cajon & palmas, the Latin syncopations of Colin Douglas on drums, and the lush string ensemble of the Musical Art Quintet featuring bassist Sascha Jacobsen.
Last year, Stevan released Jambossa - a fusion of jazz, bossa nova, rhumba, flamenco, tango and classical styles. The track selection highlights memorable jazz and pop standards yet with a twist that has not been heard before due to his virtuoso finger style. According to Stevan Pasero: I have been looking forward to arranging songs in a way that combines several of my favorite music genres (jazz, Brazilian, rhumba, pop) while utilizing specific finger style techniques (classical, flamenco, tango). It is called mashing, or at least that is what I call it. It was really fun in the studio to mash right hand techniques that I have studied through the years (rasqueado, apoyando, libre, arpeggio). On this recording, Mr. Pasero chose to arrange songs from a variety of genres: bossa nova (Black Orpheus, How Insensitive, Dindi); jazz standards (Georgia, Unforgettable, What a Wonderful World); tango/rhumba (Besame Mucho, Boulevard of Broken Dreams); classical (Carmen, Gymnopedie); and pop (Moondance, Stairway to Heaven). This CD showcases the best of both worlds for guitar lovers and fans of Stevan Pasero: a memorable selection of songs framed by exhilarating, flamboyant guitar performances and unforgettable trio arrangements.
My Take:
If there's someone who knows their way around a studio, it's Stevan Pasero. He knows what a well produced album sounds like and has the skills, equipment and personnel to make it so. Every nuance detail and emotion is here in full glory. Plus I'm a sucker for Spanish guitar!
From the WWW:
Stevan Pasero is recognized worldwide as one of the most influential & versatile guitarists of the past two decades. He has transcribed 30 major symphonic works, performed on over 300 CDs, produced 1000 masters for other artists, & composed over 1500 songs. He is one of a few guitarists to record in several music idioms successfully, bridging both classical, jazz & world markets. Fans and critics say that Stevan Pasero ((Stevan Pasero) is one of the music world’s best kept secrets, even though his CDs have sold cumulatively more than 15 million copies around the globe. His music is found in over 70 countries worldwide.
In addition to his own projects, Mr. Pasero is in high demand as music producer and has produced numerous recordings for notable artists. He has also produced music for some of the most brand-conscious companies in the world including a series of 20 CDs for the National Geographic Society, as well as Sharper Image, Pottery Barn, Hewlett Packard, Tommy Bahama, Hard Rock Café, Discovery, Kimpton, Banana Republic, Starwood, to name just a few.
Stevan’s newest album just released, Twelve Shades of Night, was written in 12 months, recorded in 12 weeks, mixed in 12 days, and was inspired by the 12 hours of night. This new album of original compositions integrates Stevan's love of Brazilian, Spanish & American music along with bossa nova, rhumba, flamenco, classical and jazz styles. Stevan's new ensemble features the rhythmic cadences of Felix de Lola on cajon & palmas, the Latin syncopations of Colin Douglas on drums, and the lush string ensemble of the Musical Art Quintet featuring bassist Sascha Jacobsen.
Last year, Stevan released Jambossa - a fusion of jazz, bossa nova, rhumba, flamenco, tango and classical styles. The track selection highlights memorable jazz and pop standards yet with a twist that has not been heard before due to his virtuoso finger style. According to Stevan Pasero: I have been looking forward to arranging songs in a way that combines several of my favorite music genres (jazz, Brazilian, rhumba, pop) while utilizing specific finger style techniques (classical, flamenco, tango). It is called mashing, or at least that is what I call it. It was really fun in the studio to mash right hand techniques that I have studied through the years (rasqueado, apoyando, libre, arpeggio). On this recording, Mr. Pasero chose to arrange songs from a variety of genres: bossa nova (Black Orpheus, How Insensitive, Dindi); jazz standards (Georgia, Unforgettable, What a Wonderful World); tango/rhumba (Besame Mucho, Boulevard of Broken Dreams); classical (Carmen, Gymnopedie); and pop (Moondance, Stairway to Heaven). This CD showcases the best of both worlds for guitar lovers and fans of Stevan Pasero: a memorable selection of songs framed by exhilarating, flamboyant guitar performances and unforgettable trio arrangements.
My Take:
If there's someone who knows their way around a studio, it's Stevan Pasero. He knows what a well produced album sounds like and has the skills, equipment and personnel to make it so. Every nuance detail and emotion is here in full glory. Plus I'm a sucker for Spanish guitar!
Indeed. Another artist which music contains lots of subtle transienty sounds is Hol Baumann. Some of his tracks gives me goosebumps every time I hear them on my Acoustats.
ARTURO DELMONI & NATHANIEL ROSEN: Music for a Glass Bead Game
J.S. Bach: Two-Part Inventions 1, 3, 6, 7, 9, 10, 13. Kodály: Duo for Violin & Cello. Giordani: Duetto II. Martinu: Duo for Violin & Cello. Handel: Passacaglia
Arturo Delmoni, violin; Nathaniel Rosen, cello
John Marks Records JMR 15 (CD). John Marks, prod.; Jerry Bruck, eng. DDD. TT: 62:34
J.S. Bach: Two-Part Inventions 1, 3, 6, 7, 9, 10, 13. Kodály: Duo for Violin & Cello. Giordani: Duetto II. Martinu: Duo for Violin & Cello. Handel: Passacaglia
Arturo Delmoni, violin; Nathaniel Rosen, cello
John Marks Records JMR 15 (CD). John Marks, prod.; Jerry Bruck, eng. DDD. TT: 62:34
The Margaret Throsby collection ABC Classics, 1997. 456 671-2 (set).
Disk 1 tracks
5. Mozart: Requiem Lacrimosa
6. Bach: Cello Suite No.1 Prelude
Disk 2 tracks
1. Bach: Goldberg Variations Aria da capo (early Glenn Gould test recording)
5. Allegri: Miserere
9. Pärt: Fur Alina
Indeed the whole set is wonderful but some recordings are "historic" and won't show off your planars.
Also, pretty much any recording of Arvo Pärt's "tintinnabular" works (post 3rd symphony) is going to be ESL compatible. (eg. "Cantus in Memory of Benjamin Britten" Hungarian State Opera Orchestra. Director:Tamás Benedek on Naxos 8.553750 )
Listening to the later through GeekOut450 and Stax headphones right now - goose bump material!
Disk 1 tracks
5. Mozart: Requiem Lacrimosa
6. Bach: Cello Suite No.1 Prelude
Disk 2 tracks
1. Bach: Goldberg Variations Aria da capo (early Glenn Gould test recording)
5. Allegri: Miserere
9. Pärt: Fur Alina
Indeed the whole set is wonderful but some recordings are "historic" and won't show off your planars.
Also, pretty much any recording of Arvo Pärt's "tintinnabular" works (post 3rd symphony) is going to be ESL compatible. (eg. "Cantus in Memory of Benjamin Britten" Hungarian State Opera Orchestra. Director:Tamás Benedek on Naxos 8.553750 )
Listening to the later through GeekOut450 and Stax headphones right now - goose bump material!
Hi,
another of my favourite classics is the Sheherazade by Rimsky Korsakov.
Though discussed controversly on some forums I like the interpretation of Gergiev and the Kirov Orchestra on Philips/Universal Hybrid SACD (ASIN: B000079BGF).
Great atmosphere captured on CD and the full range of dynamics from pp to ff.
Especially track 2: The Tale of Prince Calender.
Excerpts part 1 and part 2
Another great musical ´tale´ is Smetanas "Moldau", brilliantly performed by the Berlin Philharmonics under Ferenc Fricsay.
Appearance on ´Deutsche Grammophon´ vinyl sampler (104812), ´Concert for Millions´.
Appetizer here
The sampler also includes Handel´s Messiah under Karl Richter, Mozarts ´Zauberflöte´ under Karl Böhm, Bartholdys ´Sommernachtstraum´ under Rafael Kubelik and some more good stuff.
As a total contrast to the above and probabely too much for most planars at the required full throttle levels is Rammstein´s ´Engel´.
But if the planar can handle that, then Engel can be a revelation of planar strengths.
At the introducing whistle You can literally see the cloth bow in front of the mic.
And when at ~0:20 the guitars set, in a good ESL shows You that there´s so much more within that beautiful brutal noise. 😉
jauu
Calvin
ps. arrghhh, searched for my Stevie Ray Vaughan vinyl and can´t find it any more 🙁
Tin Pan Alley was so f***ing brilliant.
Imagine that You´ve got tenthousands of titles on Your music server but not Tin Pan Alley aaarrrghhh
another of my favourite classics is the Sheherazade by Rimsky Korsakov.
Though discussed controversly on some forums I like the interpretation of Gergiev and the Kirov Orchestra on Philips/Universal Hybrid SACD (ASIN: B000079BGF).
Great atmosphere captured on CD and the full range of dynamics from pp to ff.
Especially track 2: The Tale of Prince Calender.
Excerpts part 1 and part 2
Another great musical ´tale´ is Smetanas "Moldau", brilliantly performed by the Berlin Philharmonics under Ferenc Fricsay.
Appearance on ´Deutsche Grammophon´ vinyl sampler (104812), ´Concert for Millions´.
Appetizer here
The sampler also includes Handel´s Messiah under Karl Richter, Mozarts ´Zauberflöte´ under Karl Böhm, Bartholdys ´Sommernachtstraum´ under Rafael Kubelik and some more good stuff.
As a total contrast to the above and probabely too much for most planars at the required full throttle levels is Rammstein´s ´Engel´.
But if the planar can handle that, then Engel can be a revelation of planar strengths.
At the introducing whistle You can literally see the cloth bow in front of the mic.
And when at ~0:20 the guitars set, in a good ESL shows You that there´s so much more within that beautiful brutal noise. 😉
jauu
Calvin
ps. arrghhh, searched for my Stevie Ray Vaughan vinyl and can´t find it any more 🙁
Tin Pan Alley was so f***ing brilliant.
Imagine that You´ve got tenthousands of titles on Your music server but not Tin Pan Alley aaarrrghhh
Here's some percussion music that will truly challenge an ESL, Reich's "Pieces of Wood" played by Nexus, a Toronto group (but must be a few years old since some members shown in the video are dead). We've heard them in many concerts sometimes with their friend Steve Reich.
https://www.youtube.com/watch?v=Mv_8UaP_QRI
Got to say it is nice to hear someone as talented as Gergiev play something as over-played as Scheherezade so seriously. BTW, excellent reproduction of all those audience coughs. Maybe just my computer, but not CD quality on YouTube.
Good example of what we call "PBS style" where the camera gets to the relevant player just before the score does for those human shots.
And cooked! Times when different woodwinds seem as loud as the whole brass section. No such thing as uncooked recordings. But as I said before, probably the way Rimsky-Korsakoff wold have liked it recorded because it is necessary to help the listener follow the composer's intentions. That kind of emphasis isn't needed in the concert hall.
About synthetic music, recommended by many here. I suppose you could listen to Rammstein (very nice video, thanks) and say, "Golly, I didn't know my speakers could do THAT." I guess that can be meaningful as a test just like techies who have some kind of mental picture of a good square wave or impulse sound.
Ben
https://www.youtube.com/watch?v=Mv_8UaP_QRI
Got to say it is nice to hear someone as talented as Gergiev play something as over-played as Scheherezade so seriously. BTW, excellent reproduction of all those audience coughs. Maybe just my computer, but not CD quality on YouTube.
Good example of what we call "PBS style" where the camera gets to the relevant player just before the score does for those human shots.
And cooked! Times when different woodwinds seem as loud as the whole brass section. No such thing as uncooked recordings. But as I said before, probably the way Rimsky-Korsakoff wold have liked it recorded because it is necessary to help the listener follow the composer's intentions. That kind of emphasis isn't needed in the concert hall.
About synthetic music, recommended by many here. I suppose you could listen to Rammstein (very nice video, thanks) and say, "Golly, I didn't know my speakers could do THAT." I guess that can be meaningful as a test just like techies who have some kind of mental picture of a good square wave or impulse sound.
Ben
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I really like the myriad of suggestions you guys are posting up..🙂That's one of the main reasons I started this thread is to expose myself to a wider variety of musical offerings.
Calvin, you must find your copy of Tin Pan Ally. 😉
I must now confess my affinity to selected 'power pop' ..lol
Once upon a time, The Police produced an album that was recorded quite
brilliantly, and one of my favorites from it ...still rings true.
I'll now post it here with no reservations..ha!
The Police - Wrapped Around Your Finger - YouTube
Flame on if you must..😀
Slightly left of field for you -
PJ Harvey– "Dry"
Particularly Track 9 "Plants and rags"
Indigo (5) – 162-555 001-2, Too Pure – 162-555 001-2
Twangy-to-blues guitars, real bass (and cello), punchy percussion. Plus Polly's voice and songs.
All in a minimalist, dry mix - one of the few "alt" recordings with decent dynamic range and headroom* (although most tracks still have noticeable compression).
*Moving from this to Portishead's "Dummy" required 20db of volume reduction
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