I listen to a lot of orchestral music, and I also find that the most important aspect of achieving proper imaging and soundstage is how the recording was made, as in where the mics were set-up. I believe the most important aspect of recording an orchestra is having the mics record at a proper distance, not too close, thus the depth of the instruments will reflect that in playback. I have a few recordings where the mics were too close to the various positions, and there is little you can do in ‘repairing’ the actual stage placement of the instruments.
I am very picky about imaging, but more picky about proper instrument placement within the recording, both in width and depth. Especially with orchestral performances where in most cases there is a standard on where these placements would be in ‘real life’. Granted, there are times when the double bass are on the right, and sometimes on the left, as example, which is basically up to to the composer and conductor to get right.
I have Vandersteen 2CE Sigs, a Belles 400A amp, an old PS Audio DAC when playing digital (streaming and CD’s), and a very modest Pro-Ject Carbon TT with a Grado Red cartridge. Pretty basic stuff, but if the speakers are not placed correctly, it matters little, and the Vandy’s are very picky when it comes to placement. But once you get the Vandy’s placed and set-up ‘right’, the imaging and soundstage width and depth is incredibly pleasing; but still all dependent on the recording.
Interesting, I had to send one of my acoustic couplers to Bill at Millersound to get rebuilt. Got it back, put the Vandy back together, and decided to take a fresh approach to my speaker placement. Taking all the Vandersteen recommendations, again, and trying to find the new ‘magical spot’ for them, I thought I had it right, spread wider than before, but wasn’t sure. So, put on my Ray Brown Soular Energy CD. A good jazz trio can be a wonderful benchmark, and that particular album I know was well recorded and engineered. Listening, I could tell Gene Harris and the piano was on the right side, Gerryck King’s drums to the rear, and slightly to the right as well. But what bothered me was Ray and his bass was also mixing into the right/middle area ‘somewhere’, but ‘fuzzy’. That didn’t seem right. So, I moved both speakers closer together by, maybe 4-6” total. Immediately, Ray and his bass were clearly on the left side now and well defined, Harris and his piano to the right of the stage, and King and his drums well placed to the rear and more centered. I sat back quite amazed on how much the imaging and soundstage changed so dramatically just by moving the speakers the little I did (yes, I know 4-6” is not a little), and once I did, everyone was in their proper place. So, I kept using that CD until all was tweaked-in until it was was ‘right’, because I figured so would my orchestral recordings.
So, speaker placement can make a huge difference, along with some room acoustical treatment (very important). And once that is done, the rest of the components can shine to their abilities. And although a modest system, I can be very pleased with the results I am able to achieve. You can have a $1,000,000 system, but if not set-up right, can be worthless in this regard.
But still, the engineering of recording itself is incredibly important as well. Perhaps the most important. BS in, BS out.
