chipwelder
AVForums Grandmaster
I thought about a few topics here regarding reviewing of equipment, the theoretical and practical difficulties regarding the setting of a benchmark etc... and so forth which all ended up in a mess, cause really where lies the "truth"... and you don't have a Mervyn Davies, Gibson + Marshall Stack or Steinway on hand to compare...
Recently-ish read an article by Peter Qvortup of Audio-Note UK (who some may call a Snake-oil developer - and luminary by others) regarding this topic... It is a very simple principle with admittedly complex implications...
Firstly take a "few" recordings which firstly you like and secondly were recorded and Mastered in different ways... how you are supposed to know this I guess lays firmly in the well-developed stages of audiophillia... Then you listen not to what sounds most real (perhaps by implication) but to which set-up/system tells you most about how the ways the different discs were recorded and mastered - i.e. which reverb is natural which is real, natural space vs. studio space, compressed or not, how big does the different recording spaces on the recording sound... so you listen how much it tells you about the differences in the end-product, not some perceived standard...
SO you think it has merit?
My choices for CD's look like the following:
Sheryl Crow - Tuesday Night Music Club
Kathleen Battle & Placido Domingo - Live in Tokyo (DG)
All for you/ Love Scenes - Diana Krall (GRP)
the other Diana Krall - Live to two track also GRP
Peter ?HolstLaght? and Parley of Instruments Telemann Recorder Suites/concert - Helios
Dave Matthews Band - Remeber Two things / Stand-up Bonus Disc.
The obvious one - Jazz at the pawnshop.
Lp's
Charlie Bird Live in Las Vegas
Oscar Peterson in the one BMG studio in Germany - Private concert
1993 Prizewinners of Contemporary music - Jazz Band nonetheless Dunno
Keith Jarret Live in Koln - have CD too, LP sounds better... ECM
Recently-ish read an article by Peter Qvortup of Audio-Note UK (who some may call a Snake-oil developer - and luminary by others) regarding this topic... It is a very simple principle with admittedly complex implications...
Firstly take a "few" recordings which firstly you like and secondly were recorded and Mastered in different ways... how you are supposed to know this I guess lays firmly in the well-developed stages of audiophillia... Then you listen not to what sounds most real (perhaps by implication) but to which set-up/system tells you most about how the ways the different discs were recorded and mastered - i.e. which reverb is natural which is real, natural space vs. studio space, compressed or not, how big does the different recording spaces on the recording sound... so you listen how much it tells you about the differences in the end-product, not some perceived standard...
SO you think it has merit?
My choices for CD's look like the following:
Sheryl Crow - Tuesday Night Music Club
Kathleen Battle & Placido Domingo - Live in Tokyo (DG)
All for you/ Love Scenes - Diana Krall (GRP)
the other Diana Krall - Live to two track also GRP
Peter ?HolstLaght? and Parley of Instruments Telemann Recorder Suites/concert - Helios
Dave Matthews Band - Remeber Two things / Stand-up Bonus Disc.
The obvious one - Jazz at the pawnshop.
Lp's
Charlie Bird Live in Las Vegas
Oscar Peterson in the one BMG studio in Germany - Private concert
1993 Prizewinners of Contemporary music - Jazz Band nonetheless Dunno
Keith Jarret Live in Koln - have CD too, LP sounds better... ECM
