Isn't this whole concept dependent on what the recording engineer settled on listening to his studio monitors? There should be no problem reproducing what he was hearing under the same circumstances/similar acoustics, ie: a pair of JBL L100s?? or whatever, no?
Hi Disco-Pete,
no- I read this quite often, but this is not necessarily the target.
Even many others producers I know, dont preferre to listen to a studio monitor at home in the living room.
In the studio the monitor is a working instrument, which does not need to sound nice, but what shows all the mistakes of an recording.
At home you want to enjoy music and not analyse it.
no- I read this quite often, but this is not necessarily the target.
Even many others producers I know, dont preferre to listen to a studio monitor at home in the living room.
In the studio the monitor is a working instrument, which does not need to sound nice, but what shows all the mistakes of an recording.
At home you want to enjoy music and not analyse it.
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Dead Can Dance, into the labyrinth, last track 11
Actually, almost all album
Actually, almost all album
Okay, fine. My point is this is not a mysterious goal to be achieved. You can not improve on what was done in the studio. The best you can do is accurately reproduce it which is no real problem. Frequency response is the issue. Skewing/changing it only serves to reduce the overall effect intended by the engineer. Better gear is great but attempting to improve on the recording is only detrimental.
I will post it here too:
It's not really about the soundstage ( because it is synthetic) but this is the only tracks on which i ever felt the feeling of height or better 'elevation'. But it is a phase/freq
manipulation within Haas effect range. That said it plays a lot with width so it give a nice sense of width.
If someone have a reference of a track which include a movement in height i would happily take it ( even more if it is from acoustic source).
Peter Gabriel's 'last tentation of Christ'. There is some nice contrast of width and depth on the whole album.
Alain Bashung's 'L'imprudence'. The whole album. There is some parts which seems to jump out in front of the speaker with coax ( Tannoy and Cabasse).
It's not really about the soundstage ( because it is synthetic) but this is the only tracks on which i ever felt the feeling of height or better 'elevation'. But it is a phase/freq
manipulation within Haas effect range. That said it plays a lot with width so it give a nice sense of width.
If someone have a reference of a track which include a movement in height i would happily take it ( even more if it is from acoustic source).
Peter Gabriel's 'last tentation of Christ'. There is some nice contrast of width and depth on the whole album.
Alain Bashung's 'L'imprudence'. The whole album. There is some parts which seems to jump out in front of the speaker with coax ( Tannoy and Cabasse).
PF made it easy for me. Not to forget mentioning the great dynamics. Unlike most of the stuff that's recorded today. When a guitar note comes at you out of the shear blackness and sounds like about a million watts lol, ok that's pretty fun too.
Happy listening
Happy listening
I wonder if that's Phil on the kit in that one? He sounds slightly right of center to me. Not to say it can use some tweaking and sampling. Who gets to judge if thats where he should sound lol?
anyway the Spotify version is better, the skins sound real and natural. It makes my good recording pile.
The CD better still.
Gosh, I'm a very Hi** atm, can I please be excused now?..
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"A good soundstage with good imagry, that to me is one of the funnest part about listening to music." I agree.
Agreed! With a well set up system projecting a proper phantom center, Dark Side of the Moon is the best album I’ve found for terrifying the cat.
I like Wilco’s “I Am Trying to Break Your Heart” for testing soundstage, too.
Great Music AND Great Sound
I'm an imaging junkie too (thanks @Pano). Here's some of my favorites:
1. Cantate Domino. Oscar's Motet Choir, Torsten Nilsson. This particular one is a fantastic recording. Probably using just a pair of mics. All of the songs are great. There are some with just the choir that are just heavenly.
Organ sounds far away in the back with the choir up close. Should span the full width of the room and go way beyond the speakers to the side and the back. It should feel like you are in the middle of a tall cavernous space.
2. Saint Saens, Organ symphony. San Francisco orchestra. Decca. What's not to like. I like the 2nd movemet--simply breathtaking. Again, organ sounds far way in the back, but also has height. Rest of the orchestra is closer, but still quite far away. Enjoy the music.
3. Du Pre. Dvorak. Barbenboim. EMI. The tape on this one sounds like it has almost evaporated. If you have harshness in your system, this sounds harsh. As opposed to #2 above, which feels like an audience perspective, this one is definitely a conductors perspective. All the players are close. But it has good front to back depth and Du Pre is right up front.
Here's a youtube video that is pretty similar to what you'll hear.
4. Famous Blue Raincoat. Sure many of us have heard this one. Birds on a wire? On mine, this one comes out in front of the speakers and to the back. Just a great studio recording.
5. Genius Loves Company. All the songs. Again, a great studio recording. It feels like the singers are in the center, though placed slightly to the left and right of center. All the other musicians are placed all around them. And it actually sounds like they are playing together in a large room.
Most recordings have a lot of ambient detail picked up by the mic. But most equipment buries that under distortion in the high frequencies. If you have speakers that can do clean and loud, and amplification that can play with mostly lower order harmonics, all of this sounds great. Nelson's Class A designs, and especially the VFETs with mostly 2nd order negative phase harmonics, really separates the instruments.
Happy listening!
I'm an imaging junkie too (thanks @Pano). Here's some of my favorites:
1. Cantate Domino. Oscar's Motet Choir, Torsten Nilsson. This particular one is a fantastic recording. Probably using just a pair of mics. All of the songs are great. There are some with just the choir that are just heavenly.
Organ sounds far away in the back with the choir up close. Should span the full width of the room and go way beyond the speakers to the side and the back. It should feel like you are in the middle of a tall cavernous space.
2. Saint Saens, Organ symphony. San Francisco orchestra. Decca. What's not to like. I like the 2nd movemet--simply breathtaking. Again, organ sounds far way in the back, but also has height. Rest of the orchestra is closer, but still quite far away. Enjoy the music.
3. Du Pre. Dvorak. Barbenboim. EMI. The tape on this one sounds like it has almost evaporated. If you have harshness in your system, this sounds harsh. As opposed to #2 above, which feels like an audience perspective, this one is definitely a conductors perspective. All the players are close. But it has good front to back depth and Du Pre is right up front.
Here's a youtube video that is pretty similar to what you'll hear.
4. Famous Blue Raincoat. Sure many of us have heard this one. Birds on a wire? On mine, this one comes out in front of the speakers and to the back. Just a great studio recording.
5. Genius Loves Company. All the songs. Again, a great studio recording. It feels like the singers are in the center, though placed slightly to the left and right of center. All the other musicians are placed all around them. And it actually sounds like they are playing together in a large room.
Most recordings have a lot of ambient detail picked up by the mic. But most equipment buries that under distortion in the high frequencies. If you have speakers that can do clean and loud, and amplification that can play with mostly lower order harmonics, all of this sounds great. Nelson's Class A designs, and especially the VFETs with mostly 2nd order negative phase harmonics, really separates the instruments.
Happy listening!
+1.
Although PF can scare anyone who's not expecting it.
I have to try that with my sofa guest tomorrow morning..
Attachments
Oh, you reminded me of another good one ^.
Not sure why Wilco reminds me of Rockwell.
I always liked this one. Main vocals are crack on centre
Its a good allarounder' and loves tons of volume, plays clear as a bell and the ceiling seems limitless. 3/4 volume is loud on my setup, I haven't reached it. Neither does it seem like a gasket is about to blow out somewhere.
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Harry James and his Big Band / Roll 'Em - Sheffield Lab (1990)
Got a real interesting effect with this one whilst playing around with the Cockos ReaXcomp VST plug-in, hosted by Equalizer APO, in multiband expand mode (4 bands). The horns became clearly more dynamic, while simultaneously retaining their soundstage positions just so clearly delineated. This recording sounds pretty darn good w/o the dynamic range processing applied too!
Got a real interesting effect with this one whilst playing around with the Cockos ReaXcomp VST plug-in, hosted by Equalizer APO, in multiband expand mode (4 bands). The horns became clearly more dynamic, while simultaneously retaining their soundstage positions just so clearly delineated. This recording sounds pretty darn good w/o the dynamic range processing applied too!
