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Oliver, what you describe is very much NOT now I see the true ceremony of recordings experiencing. This high fidelity mimic of  the  “impression of sitting in a real concert hall”, or among the musicians in the pit, or whatever… are certainly a great achievement of playback but it all has meaning only in context of Pure Audio practice. There is nothing wrong with that and the Pure Audio is a noble task itself but Pure Audio is just an instrument not a purpose. So, in context of the actual USE the audio results for something more then just self-contained audio applications I think that this high fidelity mimicking is absolutely irrelevant. The real results of listening experiences, would be recording or a live event is located at emotional, esthetic, ethical and other levels of listening perception.

(First and second levels are audio-levels at http://www.goodsoundclub.com/Forums/ShowPost.aspx?PostID=50)

You see, in my view, what those smaller labels and big labels do in term up-closed microphones and artificial reverberation (even though it NEVER done properly) is something that event delivers a small tactical advantage in trim of sale to ignorant public but it at the same time has a huge strategic disadvantage in trim of absolute quality of Sound and preservation of artistic values of performing events.

If you wish you might try yourself to assess the sound quality of something like spring 1949’s recording of Sergey Koussevitzky lead BSO. Listen the first movement Tchaikovsky’s IVth symphony, listen that THAT sound and you might review for yourself what the sound quality come from… It would help if you found S1 pressing in good condition…

Rerurn to Romy the Cat's Site