+1 to horns lacking clarity and detail. Super dynamic, lackluster on detail... IME.
Also +1 to cabinet resonances being a primary association with boxy sound. Think: Harbeth.
On the other hand, I can immediately in many cases when left and right channels are swapped...it creates in me a cognitive dissonance that it clearly doesn’t cause in many people (because they didn’t catch it and I did...sometimes in systems that have been like that for years). My check is usually string quartet where the overwhelming convention is violin, violin, viola and cello from left to right. Or a record designed for setup if available. Caught many systems reversing left and right over the years...Stereo speakers only manage to move a source point between the two speakers playing with relative intensity, manipulating the phase sound engineers manage to create a rough 2D map. However, very few recordings have enough natural phase information to create a soundstage developing physically freely in the room. Most of the time it is our brain that re-builts the soundstage, using minimal clues, such as microdetails and decays, and our own experience of placement of sources in the real world.
I remember reading psycho-acoustic tests where listeners were asked to draw a map of the instruments of a recording of a chamber orchestra playing Mozart wind serenades. Although most listeners would consider that soundstage delineation was excellent, their maps showed many times a strong disagreement with the real positions, but also with other listener maps.
Electronics or speakers coloration will surely affect localization, as they change the microdetail and decay maps, but can add envelopment and enjoyment. IMHE the Quad ESL63, properly positioned and amplified, has the best localization properties of any speaker I have owned.
If you watch a concert video you will do similar...this is why surround sound systems will sound very immersive with videos but artificial (to me) with music. Your visual centers are helping a lot.Yes, the ear-brain system - as Kant would say, concepts without percepts are empty, percepts without concepts are blind.
Localization by sound is an ancient skill ... when the twig snaps behind you... . Then based on our experience - the concert master is always near the conductor, the conductor is usually in the middle, basses are far right, etc, etc. - we build the 'picture's in our mind's ear. But the 'input data' drives, so I wouldn't say "re-builds".
Observing myself in the concert hall, I find I do not do what I do in front of my stereo. Instead it is my brain connecting site and sound, the oboe player with the oboe sound
Who was saying that horns lack clarity and detail that you are +1ing? This is not a true statement anymore than it is true for other tech.+1 to horns lacking clarity and detail. Super dynamic, lackluster on detail... IME.
Also +1 to cabinet resonances being a primary association with boxy sound. Think: Harbeth.
On the other hand, I can immediately in many cases when left and right channels are swapped...it creates in me a cognitive dissonance that it clearly doesn’t cause in many people (because they didn’t catch it and I did...sometimes in systems that have been like that for years). My check is usually string quartet where the overwhelming convention is violin, violin, viola and cello from left to right. Or a record designed for setup if available. Caught many systems reversing left and right over the years...
I will hear it also with singers where the voice is centered. I will feel uneasy and ask the owner of the system if he has confirmed left and right...they always say "yes, yes" , then we check with an appropriate recording....Reversing left and right is quite common at shows. The violin or brass gives it away instantly.
Sorry if it came across that way, but that wasn’t the case - in fact I really liked them. I’m just commenting that I might prefer an amp a hair warmer than the Nagra or a different 300b tube.
Speaker/amp synergy is a big deal to me. ARC with Devore is perfectly balanced, just like I preferred Dart with Zu over warmer Audion and other combos. There was nothing wrong with tonality in my demo.
Also, to Al M- I don’t find horn coloration related to warmth. It’s hooded sound and lack of clarity.
On the other hand, I can immediately in many cases when left and right channels are swapped...it creates in me a cognitive dissonance that it clearly doesn’t cause in many people (because they didn’t catch it and I did...sometimes in systems that have been like that for years). My check is usually string quartet where the overwhelming convention is violin, violin, viola and cello from left to right. Or a record designed for setup if available. Caught many systems reversing left and right over the years...
Reversing left and right is quite common at shows. The violin or brass gives it away instantly.
For sure, but I guess Keith just didn’t have the time.Brad, Keith would have had the opportunity to hear exemplary 45 tubes at Blue58, and critically, a fully-dialled in, coherent sound. Another data point alongside the XD/Nagra demo.
Usually ... I'd say violins and basses. While trumpets, trombones, baritones, tubas etc. are often back right, horns get moved around, more often on the left, but not always.
You will be surprised how many conductors mix the bass section with the violins at barbican, it is not always left and right. YouTube Haitink with the LSO to see an example.
However with key recordings I have for audition that is not the case and it is left and right. Since violin is on right and trumpet/trombone/tuba is on the right, that is quickest for me to pick. For example, Bydlo starts with tuba and scheherazade 4th movement starts with violin.
Violins are almost always on the left.
Watch minute 15 to 16Violins are almost always on the left.
This happens often now.
This is an old shit pic I randomly dug out from my phone.
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