Opera CD rips (the first three minutes from the first CD of each set).
These are all “studio” recordings, not live performances.
1 Don Carlo EMI CLASSICS 724356740129 C. M. Giulini
Recorded at: Walthamstow Town Hall Aug 1970
ADD
2 Il trovatore EMI CLASSICS 724356289826 H.v Karajan
Recorded at: La Scala Milan Aug 1956
ADD
3 La traviata DECCA 470440-2 J. Pritchard
Recorded at: Teatro della Pergola Florence Nov 1962
ADD
4 Eugene Onegin PHILIPS Classics 438235-2 S. Bychkov
Recorded at: Maison de la Mutualite Paris Oct 1992
DDD
5 Otello DG 439805-2 M. W. Chung
Recorded at: Opera Batille, Salle Gounod. Paris May 1993
4D DDD
6 Der fliegende Hollaender TELDEC Classics 8573-88063-2 D. Barenboim
Recorded at: Studio 1 of NLG GmbH Berlin May-Jun 2001
DDD
7 Die Walkuere DECCA 430391-2 E. Leinsdorf
Recorded at: Walthamstow Town Hall Sep 1961
ADRM
8 Semiramide DECCA 425481-2 R. Bonynge
Recorded at: Walthamstow Town Hall Dec1965-Jan 1966
ADRM
These are all “studio” recordings, not live performances.
1 Don Carlo EMI CLASSICS 724356740129 C. M. Giulini
Recorded at: Walthamstow Town Hall Aug 1970
ADD
2 Il trovatore EMI CLASSICS 724356289826 H.v Karajan
Recorded at: La Scala Milan Aug 1956
ADD
3 La traviata DECCA 470440-2 J. Pritchard
Recorded at: Teatro della Pergola Florence Nov 1962
ADD
4 Eugene Onegin PHILIPS Classics 438235-2 S. Bychkov
Recorded at: Maison de la Mutualite Paris Oct 1992
DDD
5 Otello DG 439805-2 M. W. Chung
Recorded at: Opera Batille, Salle Gounod. Paris May 1993
4D DDD
6 Der fliegende Hollaender TELDEC Classics 8573-88063-2 D. Barenboim
Recorded at: Studio 1 of NLG GmbH Berlin May-Jun 2001
DDD
7 Die Walkuere DECCA 430391-2 E. Leinsdorf
Recorded at: Walthamstow Town Hall Sep 1961
ADRM
8 Semiramide DECCA 425481-2 R. Bonynge
Recorded at: Walthamstow Town Hall Dec1965-Jan 1966
ADRM
Attachments
Be careful on what you are wishing for
(because it may come true and then? )
George
I can use her for damping the subwoofer.
I am usually not listening to pipe organs or sine waves. I have a system using 2 x 18" 18Sound 18NLW9400 drivers tuned to approx. 47Hz on a XTI6002 (love that amp!) / listening mostly to DJ / HandsUp. I have a steep electronic high pass now at 60 Hz (!). Reason: The more energy I save in the lower area, the more I can put to work in the important chest range 80 - 110Hz where the punch is - of which I cannot get enough SPL. Back to the question of LF content: There is a difference, if I go lower with the cutoff, so I think that even that easy kind of typical popular "DJ" music has significant contents down to approx. 40Hz or even lower. But due to my high tuning, it starts to sound muddy instead of tight down there. Worst is if I enable the XTI' internal subbass synth - there is only LF s..t coming out of the cones. Tried to put up some dubstep / drum & bass and these music kinds have far more content down there / even WAY lower. I 'd say if you are into that strange music, 35Hz -3dB is the minimum requirement, better if you can do 30Hz. Can't see any musical need for 20, 15 or 10 Hz other than straining after the effect / razzmatazz.
I once lived in a clubland city combat zone for a very long time, and you would think one got used to the bass. You don't, you get to hate infrasound and the effects it has upon your health. Where I live now all sound is against a background of silence, and the low bass one does hear is the wind, thunder, and the sea. Sometimes all at once.
Low bass in music is an entirely different matter. Unless low bass is connected with the structural sound of an instrument, or the structural flow of the music (acoustic, electronic or otherwise) then it is no more than aural mud.
It is actually very hard to play bass really well, and most bass players eq their sound to cut out anything below 50hz. There is a real difference between mud and chocolate.
Below 30hz? well then bass is at its best as an emotional pivot point, otherwise it can become intrusive - try 'Steam Days' by Nathan Fake.
Below 20hz? the best I have ever heard is 'On Land' by Brian Eno.
Low bass in music is an entirely different matter. Unless low bass is connected with the structural sound of an instrument, or the structural flow of the music (acoustic, electronic or otherwise) then it is no more than aural mud.
It is actually very hard to play bass really well, and most bass players eq their sound to cut out anything below 50hz. There is a real difference between mud and chocolate.
Below 30hz? well then bass is at its best as an emotional pivot point, otherwise it can become intrusive - try 'Steam Days' by Nathan Fake.
Below 20hz? the best I have ever heard is 'On Land' by Brian Eno.
I have a friend with a very powerful DC coupled system- you can stick a 9-volt battery to it and the speaker cones just schooch over and stay put.
It's very interesting to hear a one-mic recording of a drum set where the drummer's high-hat-foot heel tapping is much deeper and compelling than the bass drum is! That kind of stuff happens in real life, of course, but you don't tend to focus on it. It's surprising to encounter it on a reproduction.
It's very interesting to hear a one-mic recording of a drum set where the drummer's high-hat-foot heel tapping is much deeper and compelling than the bass drum is! That kind of stuff happens in real life, of course, but you don't tend to focus on it. It's surprising to encounter it on a reproduction.
A clubland is a piece of land or real estate filled with dance clubs and bars equipped with massive sound systems.
A city combat zone is a place (usually filled with dance clubs and bars) that has two cultures, a reasonably sedate daytime business and residential culture, and a night time culture based upon the laws of the jungle, when all hell breaks loose.
Hence the expression "clubland city combat zone".
And I absolutely loved it - that is - apart from the infra-sound.
Ohhhhh, I haven't always lived in Scotland .......... anyway - back on topic
Today I have been listening first time to Dub Collosus - 'Dub me Tender Vol 1 & 2' This is a dub fusion project, somewhere between Jamaican dancehall and Addis Ababa jazz, mixed with Ethiopian highland folk music - incredibly beautiful and moving and a bass sound to die for. The bass player, Nick Page aka Count Dubulah, lays down these wonderful, intricate bass lines outlined by the most astonishing percussion, and to be honest, I could sit in my workshop and rock and groove to it all day long. The amazing thing is I am hearing all this pouring out from a 6.5in speaker. This is due, I think, to real musicians really working well together.
I do wonder sometimes about so much so called EDM dance music, the 4-4 on the floor beats variety with the usual bone crushing bass, catering for people who simply cannot dance without being completely trashed. Such a waste.
Today I have been listening first time to Dub Collosus - 'Dub me Tender Vol 1 & 2' This is a dub fusion project, somewhere between Jamaican dancehall and Addis Ababa jazz, mixed with Ethiopian highland folk music - incredibly beautiful and moving and a bass sound to die for. The bass player, Nick Page aka Count Dubulah, lays down these wonderful, intricate bass lines outlined by the most astonishing percussion, and to be honest, I could sit in my workshop and rock and groove to it all day long. The amazing thing is I am hearing all this pouring out from a 6.5in speaker. This is due, I think, to real musicians really working well together.
I do wonder sometimes about so much so called EDM dance music, the 4-4 on the floor beats variety with the usual bone crushing bass, catering for people who simply cannot dance without being completely trashed. Such a waste.
I am using a single 6.5 inch mono guitar speaker for everything - including bass. I also have a fairly large collection of Electronica and 90's EDM that I listen to all the time.
What I find to be a waste is a dance floor rammed with a crowd all facing the DJ high up on a stage with everyone so completely off their face they will dance to a car alarm. It is sad, and desperate and an insult to the young. Got that?
I think the recording techniques are ruining the feel of many recordings, on a drum set, there is often a mike for every single piece of kit. And each mike is being run through filters with the goal of removing all environmental sounds and room noise. It makes the sound dull and muffled from all the phase shifts and you might as well use a electric drum kit loaded with samples instead...
A proper drum kit sounds much better in real life than in a recording. The kick for instance, usually goes much higher in real life than 180-240hz where the mike is LP filtered. Part reason for filtering instruments is to get each instrument in a specific part of the frequency spectrum, to ease the mastering process and make it easier to make a loud mix with compression, it has nothing to do with fidelity.
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No it isn't. These days, everyone's about the "click" attack of the kick drum, which leads them to use mics like the Audix D6 which puts a big scoop in around 600Hz (IIRC) and then a huge boost in the kHz range, to try and bring that "click" to the front. FWIW, I try to use flatter mics that actually sound like the thing you've put them on. YMMV.
Chris
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