PlayClassics TRT v2.0 master file giveaway for WBF members
- Thread starter Mario Martinez
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Hi Stephen, thanks for taking the time to listen. Your feedback is really important to us
The space we are using is a chamber music hall. It might be to small for a full orchestra (though we have not really tried) It can be used for classical (solo and chamber music), jazz, blues, flamenco even rock.
The purpose of this technology is to produce a facsimile image of the concert space. We use the same setup for every recording. It does not matter if it is just piano, or any other chamber music arrangement. We only use two mics and they are always placed on the same exact spot of our auditorium outside of the stage area. There is no mixing or mastering involved, left mic is left speaker and right mic is right speaker. We have obtained this sound by working the acoustics of the auditorium itself.
This is an accurate picture of our setup. It might not be pretty, but the measurements are correct. The person at the bottom of the picture represents the actual position of the mics (that would be your listening position). They really are outside of the stage area, and they are sitting at that same spot for all five albums.
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Hi Stephen, thanks for taking the time to listen. Your feedback is really important to us
The space we are using is a chamber music hall. It might be to small for a full orchestra (though we have not really tried) It can be used for classical (solo and chamber music), jazz, blues, flamenco even rock.
The purpose of this technology is to produce a facsimile image of the concert space. We use the same setup for every recording. It does not matter if it is just piano, or any other chamber music arrangement. We only use two mics and they are always placed on the same exact spot of our auditorium outside of the stage area. There is no mixing or mastering involved, left mic is left speaker and right mic is right speaker. We have obtained this sound by working the acoustics of the auditorium itself.
This is an accurate picture of our setup. It might not be pretty, but the measurements are correct. The person at the bottom of the picture represents the actual position of the mics (that would be your listening position). They really are outside of the stage area, and they are sitting at that same spot for all five albums.
Hi
Interesting.I would like to receive the codes to download too. Should my comments e via PM or on-Forum? I sincerely would like what the feedbacks are.
Thank you Frantz, I just sent you the codes.
Please post your feedback directly on this thread, that way we can all share our impressions
Please post your feedback directly on this thread, that way we can all share our impressions
It might be interesting to listen to some experimental samples. They are just straight takes we made to see how our technology would work with different genres.
We have some flamenco (voice and guitar) some drums solos (drums set of 11 pieces) and some instrumental rock (guitar, bass, drums)
The piano, the guitar and the drums are probably in opposite sides of the "good practice recording manual" but we are recording them all the same way. We are using the same mics at the same distance (12 feet apart from the instruments) So I think listening to all these instruments on the recordings pretty much gives you a feeling of what this technology is all about.
If anybody wants to try please say so and I will PM the links to download these experimental samples.
We have some flamenco (voice and guitar) some drums solos (drums set of 11 pieces) and some instrumental rock (guitar, bass, drums)
The piano, the guitar and the drums are probably in opposite sides of the "good practice recording manual" but we are recording them all the same way. We are using the same mics at the same distance (12 feet apart from the instruments) So I think listening to all these instruments on the recordings pretty much gives you a feeling of what this technology is all about.
If anybody wants to try please say so and I will PM the links to download these experimental samples.
Mario,
Congratulations on the choice of Albeniz masterpiece Iberia for your first recording - it is great music. It also very adequate for an audiophile forum, as reproducing all the colors, melodies and rhythms of this piano piece in an audio system is very challenging. I would be very happy to get the access codes.
Congratulations on the choice of Albeniz masterpiece Iberia for your first recording - it is great music. It also very adequate for an audiophile forum, as reproducing all the colors, melodies and rhythms of this piano piece in an audio system is very challenging. I would be very happy to get the access codes.
I know nothing about live recording. So with that said
, I am curious why the drummer is facing away from the audience/recording mics?
I would appreciate the opportunity to listen to these two albums Mario. Thank you for the generous offer
. . . . . . . . .
I know nothing about live recording. So with that said
We wanted to see how our setup would perform when recording a drums set. So I called a local drummer and asked him the favor of bringing his set into the studio to improvise something for us. It was very nice of him to accept.
He suggested we placed the drums this way so that he could hear the cymbals and drums placed relative to his playing position during playback. Other than that there is really not a particular reason for placing it this way. We could have placed it any other way. The setup is transparent all across the stage area.
The drummer is Carlos Javier García Magaña. The make of the drums is Gretsch and the model is Renown '57.
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First off I have to acknowledge what a generous and kind gentleman Mario is. I chose the Albeniz and the Debussy recordings to download for evaluation, and I should state upfront that the majority of my listening is to jazz and blues. Nevertheless I found these recordings to not only be of exceptional quality but also of excellent and musically engaging performances. The recording excellence is immediately apparent in both albums, with the piano having a realistic presence and natural sense of space. The decays and reverberation of the piano are very well captured and communicated in these recordings, which I find to be of reference quality. I hope that in time more diverse musical genres will be recorded using the unique techniques which Mario and PlayClassics have developed. Thanks again for making these evaluation recordings available to us!
I am downloading some Flamenco music samples as I'm posting. It is the second time as the first time I couldn't extract the zip file (I think there was an interruption on my connection). But now it's good, I could extract them. More to come...with overall impressions...
Thank you very much Bill for your generous testimonial. I really appreciate it. We will sure be using this on our web page.
We have not had the chance to try everything yet but we do have the experimental samples I was talking about on post #26
We recorded some straight takes of flamenco, drums and rock and it worked just fine. I do not see a reason why it would not work with jazz or blues too...
It would be really helpful to share these experimental samples with all of you. If someone is interested on listening please tell me so. I will be happy to send them to you.
Classical music is my number one, so it fits me like a glove. If the glove fits you must admit. :b
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Right now I am listening to the three Drum demo tracks. Right from the bat I have to tell you that you'll have to turn your master level up to fully appreciate the capture from the mics. And your speakers will reveal exactly what's on the recording technique...the distance, the dynamics, the punch of your woofers (Pure Audio mode), and your tweeters (cymbals).
This is not a close-up recording with mics right to the drums and cymbals. As Mario earlier posted a diagram of where the mics are in relation behind the drum kit and drummer.
Now, my speakers are not audiophile type: the low bass of the big drum is punchy (in the guts), and my tweeters are not up to reproduce those cymbals with true justice. You need real good tweeters I think. Also, because of the distance of the mics it is a more natural recording, and don't expect what you might be used to, but the rewards are there...no doubt about it...it will expose your speakers and room. This is only from three drum tracks...as a first overall impression and without using any DSP and bass management.
I will need more time to experiment with my own system for the real potential of these new music recordings; that will take few days...two full albums plus seven demo tracks.
Right now I am starting the Flamenco tracks (Direct Audio mode), and with a digital connection (HDMI), and of course from the Flac file @ 96/24.
I really like what I'm hearing, and it's fun to know new artists as well. The guitar and vocals are fluid and you can hear the venue where the recording was made.
Mario, I will explore much more and I will share much more, but know this: so far I love what my ears are hearing, and thank you again for that very generous opportunity.
And remember; my room is not acoustically treated, my speakers are extremely modest and old (30-years+), and I am not using any kind of digital EQ etc.
I will have to check with an analog connection, and I will have to try bass management plus room EQ. I am far away from a real assessment; this is only my first tentative and I only listened once (those two full albums). Still, I'm blown away! Luv Flamenco!
_______
Right now I am listening to the three Drum demo tracks. Right from the bat I have to tell you that you'll have to turn your master level up to fully appreciate the capture from the mics. And your speakers will reveal exactly what's on the recording technique...the distance, the dynamics, the punch of your woofers (Pure Audio mode), and your tweeters (cymbals).
This is not a close-up recording with mics right to the drums and cymbals. As Mario earlier posted a diagram of where the mics are in relation behind the drum kit and drummer.
Now, my speakers are not audiophile type: the low bass of the big drum is punchy (in the guts), and my tweeters are not up to reproduce those cymbals with true justice. You need real good tweeters I think. Also, because of the distance of the mics it is a more natural recording, and don't expect what you might be used to, but the rewards are there...no doubt about it...it will expose your speakers and room. This is only from three drum tracks...as a first overall impression and without using any DSP and bass management.
I will need more time to experiment with my own system for the real potential of these new music recordings; that will take few days...two full albums plus seven demo tracks.
Right now I am starting the Flamenco tracks (Direct Audio mode), and with a digital connection (HDMI), and of course from the Flac file @ 96/24.
I really like what I'm hearing, and it's fun to know new artists as well. The guitar and vocals are fluid and you can hear the venue where the recording was made.
Mario, I will explore much more and I will share much more, but know this: so far I love what my ears are hearing, and thank you again for that very generous opportunity.
And remember; my room is not acoustically treated, my speakers are extremely modest and old (30-years+), and I am not using any kind of digital EQ etc.
I will have to check with an analog connection, and I will have to try bass management plus room EQ. I am far away from a real assessment; this is only my first tentative and I only listened once (those two full albums). Still, I'm blown away! Luv Flamenco!
The 3 Drum tracks and 3 Flamenco tracks I finished listen to. The single Rock track is for later (Rock is not my forte any longer, but luv the Stones and Zep and Ozzy). :b
Right now, my second listen:
Now we're talking...that's my music genre...the classical piano. ...Lovely.
* I keep the digital connection (HDMI) and Direct Audio mode (no bass management). My speakers Full Range, and my room while not bad (11' ceiling), is not optimal for the bass...I can notice right away. I will have to use some room EQ the next time. The mids are fine, and the highs, again, my tweeters are 30-years+ old, so not up-to-date with today's much better technical advancements in tweeter's designs.
One thing, very important: if the bass is not well acoustically balanced all other frequencies of the audio spectrum will suffer. ...Our ears.
Much more to come...
Right now, my second listen:
Now we're talking...that's my music genre...the classical piano. ...Lovely.
* I keep the digital connection (HDMI) and Direct Audio mode (no bass management). My speakers Full Range, and my room while not bad (11' ceiling), is not optimal for the bass...I can notice right away. I will have to use some room EQ the next time. The mids are fine, and the highs, again, my tweeters are 30-years+ old, so not up-to-date with today's much better technical advancements in tweeter's designs.
One thing, very important: if the bass is not well acoustically balanced all other frequencies of the audio spectrum will suffer. ...Our ears.
Much more to come...
Mario, I only had the chance to listen to about 30 seconds of both titles, but I already know that this is a project I'll be watching very closely. More when I listen more on my proper system.
Meanwhile, I'd love to hear the experimental samples too if you wouldn't mind. I'd also love to hear about your time studying with Earl Wild, but maybe that's for a different thread. Thanks again!
Meanwhile, I'd love to hear the experimental samples too if you wouldn't mind. I'd also love to hear about your time studying with Earl Wild, but maybe that's for a different thread. Thanks again!
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