Rerurn to Romy the Cat's Site

A few months ago, in May of last year in the thread about Listening Rooms and Composers  and How to play Bruckner Sound on Audio I have complained that my room is not what I was looking for as I was hoping to have Bruckner Room but I need up with Bach Room.

http://www.goodsoundclub.com/Forums/ShowPost.aspx?postID=13535

http://www.goodsoundclub.com/Forums/ShowPost.aspx?postID=13757

With the recent changes: utilization of ULF in proper position, fine tuning the midbass level, fine calibration the amount of “upperbass front override” and a proper calibration  of total quantity of upper MF range to the amount of ULF my room turreted to be what I was hopping all along – the perfect Bruckner playing machine.

I can’t even start to describe now Bruckner shall sound and how audio might or might sound and interpret Bruckner Sound. Bruckner Sound is a whole world, it is the sonic primordial soup, saturate with zillion micro- organisms from which anything can be developed.  Audio does not sever Bruckner well and it mostly can play Bruckner. Audio mostly presents Bruckner as a gray brick wall of sound that hits listener right in a face. In really the Bruckner Wall is not made with brick but made from multicolor sponges and it does not hit face but jut makes you to scare about your face and uses the rest of your imagination to shape your after-scare aftershocks….

My understanding of how Bruckner shall sound was an evolutional process and it did not come from live Bruckner performances. I never attended any transcendent Bruckner experiences during live events, at least not those that made me to think about Sound. All 3 Bruckner Sound Super Events were clearly audio related.

The first event took place in 2003 or 2004 what I heard in a very good listening room a brand new Wilson Audio Alexandria. They just announced it and it was a first of second that they even built and the owner let to hear it with a condition that I will not express my opinion publicly about the speaker as long as he owns it.  Leaving all positive and negative moments of Alexandria sound there was one aspect that absolutely blow me away. Alexandria was able to play very loud and very dymick with incredibly amount of intermodulations. The Alexandria was sliding up and down across a dymick range and it’s MF did something fantastic – they hold own identity with firmness of granite cliff. I never heard the effect like this in audio, at least to that degree of perfection and Even my Macondo at that time did not do it as great as Alexandria did in that room. I might question the chromatic identity of those tones, in fact I do not question but rather disagree with them but Alexandria did show off how MF and upper MF shall be played.

The second even took place a few years later when I heard for a first time Japanese mastering of Matacic with Czechs playing Bruckner 7. It never seen anybody over-inundates Bruckner sound with such insane amount of colors and in such a beautiful way. After that my mind begun to built the notion to combine the Matacic’s chromatic saturation with Alexandria’s ability to hold the identity of the tone across dymick range and the most important at the very top of the dymick range. I did not have it but the itch of that virtual reference did settle in my mind for years.

The third moment was last year in very end of June. I was in the middle of fixing my new house, my room was not ready yet, my playback was set up but near as close I would like it to be. I did not have my playback for a few months, since March of the last year and I was truly missing it. To entertain myself and inspire my soil with envy I drove to a local audio guy to hear his setup. There were things that I like in his version of sound and there were the things that I did not like. In the end of the listening I was playing one interesting recording of Shostakovich 8 and what his playback did with it was beyond believe. His hand at that time very aggressive and very boolean-like sounding upper MF and his had large, properly made and instated midbass horns. So, when the midbass horns were flooded the room with Shostakovich’s boom-boom his MF and tweeters held the ground astonishingly well (he was multi-amping). Whatever the midbass horns were vomiting out themselves as VERY high volume level the MF were just as they have to  - right there, maintaining its identity. The bass wind interment and sections were in particularly beyond believe – the bass notes were sliding up and down in midbass hurricane but the upper harmonics of the notes lived with calm weather. It was a phenomenal show and I got from that trip what I was looking for – the next week I have initiated me own midbass project.

So, my version of Bruckner Sound is in a way a combination of all 3 above-mention results, plus some my own ideas. I was straggling for a while with my desire to reduce Bruckner Sound pressure and to substitute it with tonal pressure, as now my playback does it wonderfully.  I think I do have the best Bruckner Sound I even had before and I am truly drink from the cap of pleasure and in some ways ego. Sorry, it is sounds too bravadishly but it is what it is – I am very proud for accomplishment of that “proper” Bruckner Sound of my dreams.

I wonder what will come next….

Rerurn to Romy the Cat's Site