Soudstage Height?

You introduced at least TWO variables into the equation. Obviously, the amp was one and the interconnect was two. Where you had power feeding the amp from might be variable three. If the amp had not been used in a while or had fully settled in would be #4. The total combination of these things ( changing just one of those parameters ) would be variable #5. With all of that in mind, you really do need to experiment quite a bit when changing components. Just because product A, B, C, & D liked being set up one way does not mean that E will work optimally under those conditions. You might have all of the "right stuff" to make things tick, but you just don't have them configured optimally for THAT specific component. Sean
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Paul brings up some interesting points. Depending on the type of microphone used and the placement of each mic, i DO think that a sense of "height" is possible in recordings. This has to do with the polar pick-up pattern that the individual mic displays. Outside of the frequency response, output level and maximum spl capability, this is one aspect of a mic that most recording engineers have to familiarize themselves with.

Since each mic design has different "capture angles" or polar patterns, the amount of "height", "width", "depth" and level of "ambience" courtesy of "direct vs reflected" sound can be drastically altered by the type of mic used and where it is located when recording. Combine this with the acoustics of the individual hall or studio used to make the recording, and you have a pretty drastic variation of why / how some recordings sound SO different from each other. How much of that information makes it through all of the mixing, equilization, compression, mastering, etc... is another story. Sean
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