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In the Forum: Audio For Dummies ™
In the Thread: The real goals of sound reproduction.
Post Subject: "How system should respond?"Posted by Romy the Cat on: 8/18/2005
 clarkjohnsen wrote: |
What's being missed here is this: The parameters of location are fixed by the recording engineer/producer.
Your typical Telarc has such a distant sound, one's only choice is the "you are there" reproduction.
Your typical traditional piano recording is so up close, one's only choice is the "he is here" reproduction.
So the question arises: Regardless which you prefer, can your system respond to both? Corollary: Need it do so? |
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Well, I feel that you, Clark, took the “parameters of location” too literally and basically upturned the underling intention of my post above. When I said “Space” I use very different meaning of this word and this meaning has little relation to geometrical proximities. The way in wich the Telarc’s people compress ambiance is relevant but not REALLY important. The “Space” that I meant is not exactly “fixed by the recording engineer/producer”. They could only slightly alter it as the real “Space” comes primary from the performances themselves. Ironically that your “favorite” Mono has mostly larger “Space” then the spacial stereo recordings.
It’s like you stay at the edge of the Grand Canyon and you feel the size. You might feel the size of the Grand Canyon even if you look at a very bad photograph of the Canyon but you would hardly feel the “greatness” and the “Space” if you experience a large trench next to your packing lot.
This all boils down to the fact that the performances that have ambitions to be spared across the entire “Space” of our awareness might essay OVERWRITE any, even the most barbarian, reproductive techniques. If, for instance, today’s conductor performs Mahler IX is a perfect recording studio with the super-super-super quality of audio recording (and we have many of them available) then it is not sufficient enough to “push” the “Space”. Quite contrary, when we listen the Bruno Kittel’s Choir in Furtwängler’s Bethhoven IX, 1942 or Golovanov’s Choir at the opening of “Gogunov” in 1949 then the force of the “Space” that is capable to be transmited from there is so high that it can easily to push itself through any imperfections of the recording media.
So, the question that was arisen: how system should respond has a “strange” answer. A system should discriminate bad performance from good one by destroying sound at bad performance and at the same time it should let better performance to be transmitted “as is”. How the system might do it? There are many mechanisms but the collapsing and narrowing the “Space Communication Bridge” is one of them. Do not forget that we do not really listens to Sound but rather we listen the reinstated “Space” with the Sound imbedded into it….
Rgs,
Romy the caT
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