viber6
Responses from viber6
| Sat front row at the symphony... Interesting points about the Sibelius violin concerto. The opening minute or two is very soft and dreamy for the orchestra, with the soloist a little louder so it is still dominant. Orchestra and soloist are playing together in the appropriate b... | |
| Sat front row at the symphony... You may like the sound in the balcony and from your speakers, but this is a bit of an apples/oranges comparison. Depending on the music, Telarc recordings employ a mix of close mikes and distant hall mikes to capture hall ambience. Some recordin... | |
| Sat front row at the symphony... Also, do you know the 1967 Turnabout LP of the Rachmaninoff Symphonic Dances, Dallas Symphony conducted by Donald Johanos? The 3rd movement highlight is the crackling brass fanfare near the end, culminating in cymbal and tympani crashes. This wa... | |
| Sat front row at the symphony... frogman, Ah, now I understand you better. Your references are bass clarinet, saxes which are middle and lower midrange/midbass instruments, as opposed to the violin, which is midrange/HF. Lower freq instruments gel at greater distance, and are ... | |
| Sat front row at the symphony... frogman, Violin concertos are carefully scored for orchestra realizing the inherent SPL limitations of a solo violin. For the great concertos, the orch is reduced to pianissimo when the solo violin is playing. When the violin soloist takes a br... | |
| Sat front row at the symphony... Mischa Mischakoff was the most esteemed concertmaster of the 20th century. He was with the NBC Symphony under Toscanini, and I love his solos on those recordings. When he retired, he was with the Detroit Symphony. I visited him in Detroit in 19... | |
| Sat front row at the symphony... You have a wealth of concert hall experience. I love the mono recordings on Mercury of Rafael Kubelik + Chicago SO in Orchestra Hall (I guess renamed Symphony Center). Have you tried a few locations there to compare the recordings with what you ... | |
| Sat front row at the symphony... mahler123, Good observations. The short wavelengths of high freq (HF) mean that HF are more absorbed than lower freq (LF) at greater distance. So the tonal balance at greater distance is skewed toward LF. At close distances, the natural HF pre... | |
| Sat front row at the symphony... Mahler123 is correct that violin recordings with orchestra are just about always overmiked. Unfortunately, the live reality is that the 1 violin soloist is competing with at least 20 players in a small chamber orchestra in Mozart concertos, e.g. F... | |
| Sat front row at the symphony... I wonder if any of the people who disagree with my preference for close musical encounters have had enough experience comparing seats at various distances. When an event was popular, I could never get a close audience seat. From the 10th row or ... | |
| Sat front row at the symphony... Composers (and performing musicians) both create their art for all types of listeners with different musical knowledge and different seating preferences. Music is a business which needs to serve as many customers (listeners, performers, concert h... | |
| Sat front row at the symphony... frogman, Good points for discussion on several levels. As musicians, we strive to blend our sounds and play together. For orchestral playing, a 1st violin section in a large orchestra has 16 violinists who are told by the conductor to suppress ... | |
| Sat front row at the symphony... I remember the good sounding Koss 1A electrostatic speaker. It was a large panel stat, but it included a dynamic tweeter. At the time, I wondered why a dynamic tweeter was used, when everyone knows that electrostatic membranes are better than dy... | |
| Sat front row at the symphony... fleschler, The most accurate and natural speaker is plasma. Totally massless, small driver the size of a tweeter, very efficient. Unfortunately, they are dangerous for ozone and other noxious gases, fire hazard from the burning flame from high vo... | |
| Sat front row at the symphony... frogman,, You're right that instrumental sounds have different colors, textures, tonal balance at close vs further distance. But look into the mind of the composer. He/she thinks of a melody in the mind, tries it on the piano, then writes it do... |