AudioNervosa
Systemic Development => Bipolar System Disorders => Topic started by: P.I. on April 20, 2016, 02:33:00 PM
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I am corresponding with a gentleman concerning aspect of musical reproduction and SQ. Sometimes I write things in email responses that are absolute stream of consciousness and even in retrospect make sense to me.
Here is one such reply:
"I covet all of the feedback I can get from anyone on any cable. Not being able to afford to buy "one of everything" to audition I rely upon the opinions and observations of others. It is no good to build a cable that simply suits my tastes. Hell, I'm 68, been around automatic weapons fire, children and worked in noisy environments all of my life. My trump cared (oooooh, bad choice, but I'll go with it) is that I spent many years as a recording engineer/producer and learned HOW to listen.
One of the aspects of audio that many don't come to grips with is it is as important to not hear some things as well as the things we do. I am all about the spaces between notes: silence, reverb tails, breaths, extraneous performer sounds, etc. Just about anyone and anything can get the notes more or less right. It is the soundfield around, behind and underneath the notes that go to make a tremendous musical experience. We just have to build systems that do that to experience audio greatness."
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Dave excellent observation. Environment, space,air, all a product of transparency. Which is a product of a low noise floor. No noise more music in a nut shell.
The small inflections lost by noise creates the real feeling and emotion of the recording.
When a solo violin or especially piano the hall should be discerned. Harmonics with decay to the end of the harmonic. If one is lucky second and rare third are heard.
When I can hear the mouthpiece then the bell of a horn its amori.
charles