XLO Test and Burn-In CD has a track with Michael Ruff out of phase. Sound comes from everywhere, and nowhere. You should have specified imaging. There is none. But since you didn't, out of phase is everywhere, and you simply cannot get any bigger than that. I win. But the prize is your divine insights. So I think the next move is double and nothing? |
@millercarbon thank you for the public service |
The youtube file will not be ideal but give an idea... These voices must be around you during all the concert and not only in front of you, in some case the voices comes from behind my head, around my head and beside me in the room... For example the piece begiining at 36 minute present a male voice and a female voice duo each voice must come from each side of your back head back of you... You must see then walking and speaking... This is anyway the best interpretation i know of this opera and the best recorded... My system value is 500 bucks... But my acoustic is very good... |
This youtube file is easy to look for, and here also the bells must fill the room and dancing all around you beside you and coming from all directions.. You must be circled by them ... The sound must never be only between speakers for sure , this is true for any recording... But the sound must be around and beside you even sometimes around your head... |
Hi @chorus,try another from Yosi Horikawa, Crossing. I’ve found quite a few of his recordings have that “magic”. |
I am looking for music that will play 180 degrees in front of you while in the listening position.
In my case that means 10 feet outside of each speaker.
Roger Waters plays about 5 feet out. Horikawa is about 7 feet out Chesky's #47 plays the whole 10 feet.
Now that I have better explained the contest who can contribute ?????
Not trying to be the arbiter of beauty.
|
😁😊 The effect the OP feel with some album is dependent of his own acoustic settings not only from the recorded album by itself... Put the same piece in another room/system and the soundstage will change... Try to listen track from beside your back head like i suggest with some recording....Or instruments and voices around you or beside.... People think that the "sound" is canned in the recording like a soup ready to taste from a can....Acoustic of the room ( geometry,topology,acoustic content) is almost half of the conditions acting on a soundscape with the recording engineer choices in his album...
|
I guess it depends on whether one wants a natural sounding soundstage, that is a result of good recording methods and techniques, capturing the existing ambient and spatial cues of the venue where the performance is occurring. Or soundstage created in the studio, that does not actually reflect a real acoustic space. While I like both types, IMO, the most satisfying, is the preproduction of an actual soundstage, recreated by good recording methods, that have captured the spatial cues of the acoustic space where the performance is taking place. For example, an average classical recording, has a more realistic soundstage even the best rock, pop, country, recording. Jazz recordings are also likely to have a natural soundstage. I own a recording on the label Varese Sarabande of he LA Chamber orchestra performing 2 great pieces ("Static and Ecstatic" & "Kitharaulis") by modern serial composer, Ernst Krenek. The soundstage on this recording is amazingly 3d and open. While listening, I can easily imagine myself getting up, and walking among the musicians in the soundstage my system transports me to. Musicians extend well beyond the wall behind my speakers, and well beyond the outer edges of my speakers. I also own other modern classical recordings on the Nonesuch label, by composers such as Elliott Carter, Joseph Schwantner, Stefan Wolpe, Charles Wuorinen, that have comparable natural soundstages. Musically, these recordings are modern, serial, atonal, dissonant, and overall, ’thorny’ sounding classical, so, YMMV. For jazz, it is tough to beat the ECM label. Even though most of these are recorded in the studio, they are done with minimal studio effects, and have a very natural soundstage. Both vintage vinyl recordings, and contemporary digital recordings, have a very good soundstage.
|
Most people dont recognize the acoustical impact of our own room in the rendition of the CHOICES and TRADE-OFF in the original room or studio recording by the engineer... Perfect recording DONT EXIST........
These 2 acoustics the original one and our own room mix together... Not only on the count of imaging and soundstage but more importantly also about the timbre of voices and instruments...
There is 2 possibilities : First you own an OPTIMALLY acoustically controlled room...The state of the art... But this will cost way more than the costlier audio system... Second you can study acoustic and use his principles to manage your own room et low cost... I can in my room at will direct the sound and completely change all imaging, soundstage timbre and others acoustic cues... In some recording i can have an out of the head headphone effect, all music surrounding my head but not in my head like an headphone... In some other voices coming from back and front simultaneously... In some recording the instruments are beside me on each side... In some others the music fill in the room , not from back or beside me not between the speakers, but float in the room... Acoustic is Queen... The choices of pieces of gear which we own for most of us really dont matter more than acoustic matter at the end...The only exception is very bad piece of gear,,,, |
