Sound recording for sound recording...youtube sound delivery; I much prefer the other one, sourced from the turntable.
This one here above (it don't matter to me the source); it sounds constricted, distorted, broken, old analgesic losing all its effect, painful, jittery, scary and neurotic. I'm just being honest on how I feel listening to it from that video.
Do you feel some verisimilitude to what I just experienced?
I'm curious, Peter. Which part of Hieukm’s post did you think was excellent? All of it? Because I could not find a single thing he said that contained any logic or real knowledge. Maybe it’s just me but all I read is reckless abandon. Oh, well.
Stehno, I agree with his comments that the two piano sounds are quite different. I also like his suggestion that you start your own thread with your own music videos to discuss your system and receive comments from others. This may be more productive or effective than dropping your videos in someone else's thread. I particularly like his suggestion to make a video of Mendelssohn violin and directly compare it to Tang's analog recording video. Tang's video is on his AS2000 thread. It's a good one. That would be quite interesting to hear the differences.
I did not particularly find Hieukm's post filled with reckless abandon. What do you mean by that?
The two examples you provided are super easy. ...Analog piano reproduction by a long shot.
But!
If one was to set up his digital rig with a source that is clean of jitter and distortion-free we might have a better handle on this stuff and understand why Paul prefers digital. I bet his digital rig is well set up and clean.
I also bet he prefers tape over vinyl.
This; the best quality music recordings are both on analog and digital. Analog could be expensive, very.
Digital is much cheaper in general, easier to set up, easier to clean up, less fuss.
But this too; the access to some music we love is easier in one format than the other.
And if it gets too complicated there's always hires streaming/downloading.
To play super safe: All of it ... Analog and Digital. There's no limit in this hobby when we're open to everything the audio (music recordings) world has to offer.
It's nice we can buy anything we wish for, and much much more. We're in this hobby for the emotions.
Without emotions we would be like robots, machines without a soul.
I like both but for the last many months listen to analog mostly. Opened a new copy of Ashkenazy doing Rachmaninoff concertos and found the sound with the Koetsu Onyx way too warm, thick, dull. Atypically for a symphonic recording, my Transfiguration Proteus stepped up and sounded much better to my ears. This is why I keep two arms and cartridges ready to go. They're like musical instruments, suitable to a particular music, unique to each one.
When I listen to videos including my own made on a iPhone and transferred to YouTube. The only markers I use is clarity, the level of non congestion and openess. You can get an idea of tonal quality sometimes.
Digital and I get a glimpse of the soundstage. These videos tend to give me idea of the markers I use for a very personal evaluation. Unless your there in the flesh... it can only be useful for the owner.
When I listen to videos including my own made on a iPhone and transferred to YouTube. The only markers I use is clarity, the level of non congestion and openess. You can get an idea of tonal quality sometimes.
Digital and I get a glimpse of the soundstage. These videos tend to give me idea of the markers I use for a very personal evaluation. Unless your there in the flesh... it can only be useful for the owner.
I can tell alot by listeniing to your system. I actually learned alot by listening to your system. The sound is free of stress, very dynamic and fast. Give real feeling of ambience. Tonal is nice. Much to the benefit of your grounding.
I like both but for the last many months listen to analog mostly. Opened a new copy of Ashkenazy doing Rachmaninoff concertos and found the sound with the Koetsu Onyx way too warm, thick, dull. Atypically for a symphonic recording, my Transfiguration Proteus stepped up and sounded much better to my ears. This is why I keep two arms and cartridges ready to go. .
I would not put too much blame on the Koetsu. Last week I was listening to that album too. One with Previn LSO. It did not last five minutes. That album is just not every good at all.
I would not put too much blame on the Koetsu. Last week I was listening to that album too. One with Previn LSO. It did not last five minutes. That album is just not every good at all.
That is true but you can evaluate a cart on a mix of recordings. He is right about the koetsu in most cases. There can be a rare system set up (as with anything in analog) where it might work
I can tell alot by listeniing to your system. I actually learned alot by listening to your system. The sound is free of stress, very dynamic and fast. Give real feeling of ambience. Tonal is nice. Much to the benefit of your grounding.
I would not put too much blame on the Koetsu. Last week I was listening to that album too. One with Previn LSO. It did not last five minutes. That album is just not every good at all.
I'm not blaming the Koetsu at all. On the contrary, it, along with my Anna, is my go to cartridge for symphonic or large scale or dense music. Similarly I like the Transfiguration Proteus for chamber and small ensemble classical, jazz etc. In this case, unexpectedly, the Ashkenazy just didn't work at all with the Koetsu but was complemented by the Transfiguration.
Edit: For some reason it was not posted. I found the relavant portion @ 6:52. You may slide your cursor to that point and avoid the rest. I realize everyone is not a fan.
No politics were intended. For some reason all of my post did not come through. I went through the trouble of finding the exact point of the quote. It is @6:52. You may slide your cursor along the video and play the relavant portion only. Perhaps I will learn hoe to edit that video. There is probably a You Tube video on that.