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Yes, for you too, it's somewhat easier to read Posts than to compose a reply ?
Well, I read Chris' damning assessment of this album in the 'Stereophile Interview with Jared Sacks' Thread, #29 :
/showthread/115200/115307#115307
I trust someone else would refute Chris' questions or endorse his rhetoric. As nobody has, I'm starting this discussion—where it best belongs (rather than under the label [audiophile] of another label [CC]) ?
Reviews from you who's heard the album ? Because I've not...
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Post by Chris February 25, 2014 (2 of 4)
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Wilhelm—Xu Zhong-Rui said:
Yes, for you too, it's somewhat easier to read Posts than to compose a reply ?
Well, I read Chris' damning assessment of this album in the 'Stereophile Interview with Jared Sacks' Thread, #29 :
/showthread/115200/115307#115307
I trust someone else would refute Chris' questions or endorse his rhetoric. As nobody has, I'm starting this discussion—where it best belongs (rather than under the label [audiophile] of another label [CC]) ?
Reviews from you who's heard the album ? Because I've not...
I have to admit that musically this release as the two others in this series that I have,is very good imho. Although with Mozart's 22nd performed live in fresh memory with a full size orchestra employing vibrato and a very well played and tuned Steinway remain my absolute preference of enjoying this genial music even more than in this multi mono/close mic'd HIP form.
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Post by bissie February 26, 2014 (3 of 4)
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Chris said:
I have to admit that musically this release as the two others in this series that I have,is very good imho. Although with Mozart's 22nd performed live in fresh memory with a full size orchestra employing vibrato and a very well played and tuned Steinway remain my absolute preference of enjoying this genial music even more than in this multi mono/close mic'd HIP form.
Dear Chris,
if I had had your email address, I would have written to you privately.
However, let me say the following:
I think you're getting a little bit tedious now. Facts are: we are recording in the same venues, with the same artists, using the same equipment in the same positions with the same persons as before, the only difference being that we nowadays use 24/96 or higher rather than 24/44,1.
Therefore it would seem to me that you have developed another taste, which is perfectly on the level. But to constantly hear that we have changed sound and principles, when in fact we haven't, and have to read sentences like "my once beloved label", is getting to me. If you have changed taste and grown out of love with the BIS sound, fine, but then say so and don't lay it on our doorstep.
Cordially - Robert
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Post by Chris March 1, 2014 (4 of 4)
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bissie said:
Dear Chris,
if I had had your email address, I would have written to you privately.
However, let me say the following:
I think you're getting a little bit tedious now. Facts are: we are recording in the same venues, with the same artists, using the same equipment in the same positions with the same persons as before, the only difference being that we nowadays use 24/96 or higher rather than 24/44,1.
Therefore it would seem to me that you have developed another taste, which is perfectly on the level. But to constantly hear that we have changed sound and principles, when in fact we haven't, and have to read sentences like "my once beloved label", is getting to me. If you have changed taste and grown out of love with the BIS sound, fine, but then say so and don't lay it on our doorstep.
Cordially - Robert
Hello Robert,
No sorry,but I haven't changed my taste.
I have been moaning, on and off,about too many mics and too close balancing employed too often imho,from BIS for years now it seems.
But I liked both of the other recordings in this series so much that I omitted my usual tedious criticism of mics and balancing and focused my comments regarding those two,on only really positive things.
The reason I was more critical of the latest release may as I suggested myself ,partly lie in the fact that I have some live performances of Mozart's piano concertos in very fresh memory.
Last night I heard Pascal Roge´ perform Mozart's 21st piano concerto with Okku Kamu and the truly excellent Singapore Symphony Orhestra .
And also that a discussion of mics,balancing and related things like whether to try to achieve "Concert Hall realism" in recordings or not, was going on in that other thread.
I said I enjoy this release too .But I find it a bit disturbing to hear mechanical instrumental noises intruding especially in the slow movement of the 22nd.
Noises like that would only be heard from very close to the players in concert.
Therefore both my plea and taste remain the same as before.
Imho, move mics a bit back,use fewer mics and capture more natural ambience even in stereo,please,please?
Having said that,my tedious moaning of what I hear from some stereo releases is hopefully not at all representative of how these and other BIS recordings actually sound in their mch version.
I had a discussion with a recording engineer who has recorded some SACDs for BIS and he said that the very fact of mch forced him to use closer miking for the stereo layer otherwise he would get a "too swimmy" end result.
Maybe all I need to do is to go mch and my love for BIS's sound will be back on top again?
I am truly sorry if all this is getting to you again it is not my intention to offend you in any way. It is just my insensitive and rude way of maybe a little too often,trying to influence and get things done the way I prefer.
And with all due respect,if you really objectively re-read some of the many posts and also some reviews on mics and balancing that tend to pop up here quite frequently,my voice and concern is not exactly a lone voice in the wilderness?
Cordially -Chris ready for more live Mozart in a couple of hours here in balmy Singapore.
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