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The audience multichannel perspective is done often and well by many labels, if that approach is your preference. The "stage" multichannel perspective is much harder to come by, but, in my not-so-humble opinion, is far more rewarding and exhilarating. The way I look at it, I applaud the likes of 2L, Tacet, and AIX for thinking outside the box and support them first and foremost.
To each his own. I certainly appreciate Polly Nomial's attempts to remain neutral when reviewing these more "adventurous" mixes. Keep 'em coming Mr. Lindberg!
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rammiepie said:
I am in total agreement with Chris: what would one prefer: to experience the music from an audience perspective or experience the music from the conductor's point of view? I would always opt for the latter and applaud companies like 2L and Tacet with their Real Surround recordings which literally put the baton in one's hand....Not a gimmick but a gift!
Most of us only hear music from the audience point of view, that is why it is said that musicians are very poor judges of sound quality from a Hi-Fi set up.
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I strongly prefer my music from the audience perspective. Wrap around is fine, spectacular even, for those occasional works where it is performed that way for the audience. But, count me out on most 2L's. I consider them gimmick demo disks in spite of their otherwise excellent sound. I just do not listen to them for musical pleasure, since they do not give me what I am used to hearing and what I want. I just have no interest at all in the onstage perspective.
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diw said:
Needless to say, there are some recordings where placing instruments in the rear speaker makes sense. Like Berlioz requiem, you could imagine the off stage brass being placed there.
I don't have to imagine it - I have heard it in Symphony Hall (Boston) and in more than just the Berlioz Requiem. I heartily endorse such recordings. But not the nonsense 2L has given us so far. BTW their solo and violin and piano mch recordings are very fine!
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Windsurfer said:
I don't have to imagine it - I have heard it in Symphony Hall (Boston) and in more than just the Berlioz Requiem. I heartily endorse such recordings. But not the nonsense 2L has given us so far. BTW their solo and violin and piano mch recordings are very fine!
Then play it in stereo!
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rammiepie said:
Then play it in stereo!
You should know that it sounds more realistic in MCH than in old stereo about time Teresa realised it as well. With her hot distorting deterioating tubes .
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Disbeliever said:
You should know that it sounds more realistic in MCH than in old stereo about time Teresa realised it as well. With her hot distorting deterioating tubes .
Do I dare read "between the lines" regarding that post?
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rammiepie said:
Do I dare read "between the lines" regarding that post?
Well, I surmise that when he said:
"You should know that it sounds more realistic in MCH than in old stereo about time Teresa realised it as well.
That he was really referring to how it would have sounded if engineered and mastered by, say Jared Sacks or someone from Polyhymnia. As to the other, some things aren't worthy of discussion.
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Windsurfer said:
Well, I surmise that when he said:
"You should know that it sounds more realistic in MCH than in old stereo about time Teresa realised it as well.
That he was really referring to how it would have sounded if engineered and mastered by, say Jared Sacks or someone from Polyhymnia. As to the other, some things aren't worthy of discussion.
Yes, and place us in the audience with that same old, same old ambience.......ho hum. I like my surrounds adventuresome and sometimes placing a compact disc damper atop the discs does "strange but wonderful" things for the music.... pinpointing locations of instruments that undampered discs cannot possibly benefit from. Try it, maybe you'll hear what I'm referring to! I'm sure when Wolfgang Amadeus Mozart was composing, he heard sounds coming from multiple directions and confining it to a stage was arbitrary and counterproductive to what he really heard......let's start thinking outside the box [read, the stage]. 3D for the EARS! Why does EVERYTHING have to be so bloody black and white?
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rammiepie said:
Yes, and place us in the audience with that same old, same old ambience.......ho hum.
There is much more to being placed in the audience, Ralph, than mere ambiance. If you have been keeping up with the relevant threads, it should be dawning on you that a recording with a properly employed discrete center channel, reproduced through a vertical standing full range speaker provides enormous gains over 4 channel or 5 channel with center derived from the left and right.
A full symphony or symphony with chorus reproduced over 3 full range front channels with properly deployed "surrounds" (music such as Verdi's Requiem, or Mahler's 4th to cite Channel's outstanding recording) has a tremendous impact and a realistic sense of spaciousness that just isn't available in stereo or quad and quad-derived 5 channel recordings.
We are soooo close to realizing the dream of credibly being transported to the recorded venue that to give up that dream (which defines real high fidelity) - give it up now, when we ARE so close, - give THAT up to go diddle with artsy fartsy spatial gimmicks instead of pursuing true high fidelity (transporting the listener to the recorded venue) just seems criminal to me.
Morton could do so much better!
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