What do you think of this video

What do you think of this video. And this is not directed to those who think every mobile phone video is trash, thanks. Please listen to the end for the brass and the woodwinds

 
fwiw, all these video's sound colored by the room. I don't hear dac, cable changes, etc alleviating that fundamental. To me, it just sounds like too much SPL's jammed in too tight a space. The standard to meet in all these video's is the one PeterA submitted on his system thread
, imho. The music breathes in that one -- it's not doing battle with the room. I'd like to hear more from PeterA's room, including different genre and maybe less than A1A level pressings....
 
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fwiw, all these video's sound colored by the room. I don't hear dac, cable changes, etc alleviating that fundamental. To me, it just sounds like too much SPL's jammed in too tight a space. The standard to meet in all these video's is the one PeterA submitted on his system thread
, imho. The music breathes in that one -- it's not doing battle with the room. I'd like to hear more from PeterA's room, including different genre and maybe less than A1A level pressings....

So you're saying it sounds like certain frequencies have too much room gain? or just that too high of volume in a space is impossible to be good?
 
fwiw, all these video's sound colored by the room. I don't hear dac, cable changes, etc alleviating that fundamental. To me, it just sounds like too much SPL's jammed in too tight a space. The standard to meet in all these video's is the one PeterA submitted on his system thread
, imho. The music breathes in that one -- it's not doing battle with the room. I'd like to hear more from PeterA's room, including different genre and maybe less than A1A level pressings....

Thanks Wil. I don't think mine is the standard, but I appreciate the compliment. Here is my Scheherazade plus two more of different genres:



 
fwiw, all these video's sound colored by the room. I don't hear dac, cable changes, etc alleviating that fundamental. To me, it just sounds like too much SPL's jammed in too tight a space. The standard to meet in all these video's is the one PeterA submitted on his system thread
, imho. The music breathes in that one -- it's not doing battle with the room. I'd like to hear more from PeterA's room, including different genre and maybe less than A1A level pressings....


Interesting, Wil. I'm curious how you're able to so clearly discern room coloration with each video since every room is potentially so vastly different from the next and I'm guessing you never visited most of the rooms in these videos.

I posted this video early in this thread and frankly, I hear no room coloration nor any SPL overload whatsoever. In fact, I don't hear the room at all. But of course, I'm biased.
 
So you're saying it sounds like certain frequencies have too much room gain? or just that too high of volume in a space is impossible to be good?

The overall presentation, particularly in the higher frequencies, sounds strident as if the room is over-pressurized. I'm just guessing, intuitively, that it would sound more relaxed and free in a larger, more neutral space. But, I'm certainly no authority and we are listening to youtube on earbuds, so caveats galore!
 
My favorite Scheherazade is Leinsdorf and LA Phil. However, I also greatly appreciate Monteux/LSO and Beecham/RPO I have about a dozen in my collection; however, these three are exciting in different ways. The Monteux 4th movement is most like the Reiner. I (and several friends) do not like the Reiner version as we feel it loses the underlying feeling, too driven. We do appreciate the recorded sound though. I do not listen to the Reiner version when I want to hear the piece it just happens to be in my RCA CD collection box and on a LS LP. His Pictures at an Exhibition on RCA LSC is great in that the sound is superb but the performance is allowed to flow. He probably permitted the orchestra to play without much guidance, as it was an early recording soon after Kubelik left (whose version is also great).
 
Now with a more complex music it reveals.I think the mix of cables and bass traps enhance the center tone (making it very articulate, more piercing) and dynamic too much it loses tonal variation. The system is throwing everything at the listener...dynamic dynamic dynamic. In a system with good tonal variation and dynamic variation, within group of instrument, for example this Scheherazade, when the blast of brasses comes, those brasses don't play exactly the same key, although they are the same instrument one or two of the players blast it with a slight different note. You should be able to hear one brass sort of leading out the other making a very interesting variation. Less variation and contrast mean more homogeneity. I still like this SS/box speaker system a lot. The system can be tuned to my preference.
When I heard this system from this forum I was rather surprised. Such great equipment in a nearly undamped room. It makes for a hard, direct sound just as you have noted. I have a room that probably cost as much as this system so that I can get a full, dynamic and recreation of the recorded sound all around me/the room. I've heard the speakers in other rooms where they sounded relatively relaxed instead of in your face.
 

Interesting, Wil. I'm curious how you're able to so clearly discern room coloration with each video since every room is potentially so vastly different from the next and I'm guessing you never visited most of the rooms in these videos.

I posted this video early in this thread and frankly, I hear no room coloration nor any SPL overload whatsoever. In fact, I don't hear the room at all. But of course, I'm biased.

I just listened to your Miles recordings, and they sound good, and I don't hear the room inserting itself either. Some other videos I do think I hear the room bringing attention to itself and so getting in the way of the music. Not that this is a competition, as I'm just trying to learn, but from all the video's I've listened to (not all of them), PeterA's is the one I would want to be sitting in simply because the sound is breathing in the space. I'm not going to use the word "natural!"
 
When I heard this system from this forum I was rather surprised. Such great equipment in a nearly undamped room. It makes for a hard, direct sound just as you have noted. I have a room that probably cost as much as this system so that I can get a full, dynamic and recreation of the recorded sound all around me/the room. I've heard the speakers in other rooms where they sounded relatively relaxed instead of in your face.
Sounds impressive. Would be great if you could post a video up of your system with Reiner (or the Leinsdorf would be nice) Scheherazade sometime thanks SeagoatLeo.
 
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My favorite Scheherazade is Leinsdorf and LA Phil. However, I also greatly appreciate Monteux/LSO and Beecham/RPO I have about a dozen in my collection; however, these three are exciting in different ways. The Monteux 4th movement is most like the Reiner. I (and several friends) do not like the Reiner version as we feel it loses the underlying feeling, too driven. We do appreciate the recorded sound though. I do not listen to the Reiner version when I want to hear the piece it just happens to be in my RCA CD collection box and on a LS LP. His Pictures at an Exhibition on RCA LSC is great in that the sound is superb but the performance is allowed to flow. He probably permitted the orchestra to play without much guidance, as it was an early recording soon after Kubelik left (whose version is also great).

I agree - I am also a disliker of the Reiner interpretation.
 
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It looks like there is a tweeter above the multicell (assume 288 or something similar) and then a super tweeter above that too. So looks 4 way. Certainly has a lot of extension on top beyond normal Altec but sounds slightly odd in doing so.
Does sound tipped up, might be that less could be even more here with the balance in this. I’m now more likely to go more with a less way system than I was originally thinking in the next iteration with still just one horn mid to top rather than running a four way with super tweeter as well.
 
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Does sound tipped up, might be that less could be even more here with the balance in this. I’m now more likely to go more with a less way system than I was originally thinking in the next iteration with still just one horn mid to top rather than running a four way with super tweeter as well.
I have found for coherence that’s the way to go.
 
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My favorite Scheherazade is Leinsdorf and LA Phil. However, I also greatly appreciate Monteux/LSO and Beecham/RPO I have about a dozen in my collection; however, these three are exciting in different ways. The Monteux 4th movement is most like the Reiner. I (and several friends) do not like the Reiner version as we feel it loses the underlying feeling, too driven. We do appreciate the recorded sound though. I do not listen to the Reiner version when I want to hear the piece it just happens to be in my RCA CD collection box and on a LS LP. His Pictures at an Exhibition on RCA LSC is great in that the sound is superb but the performance is allowed to flow. He probably permitted the orchestra to play without much guidance, as it was an early recording soon after Kubelik left (whose version is also great).
I think Leinsdorf's Scheherazade is not with the LA Phil. It was the Concert Arts asymphony Orchestra.
 
I just listened to your Miles recordings, and they sound good, and I don't hear the room inserting itself either. Some other videos I do think I hear the room bringing attention to itself and so getting in the way of the music. Not that this is a competition, as I'm just trying to learn, but from all the video's I've listened to (not all of them), PeterA's is the one I would want to be sitting in simply because the sound is breathing in the space. I'm not going to use the word "natural!"

Appreciated, Wil. Your earlier statement seemed to be painted with a very broad brush. If you ever do hear room influences in any of my video's, by all means feel free to say something. After you've listened to them of course. :)

As for hearing room influences, I would suggest contemplating instead on hearing the playback system's deficiencies allowing the room to draw attention to itself. When a playback system lacks resolution (all do), the first thing to become inaudible is the lowest of low-level detail info which happens to be the volumes of ambient info embedded in the recording. Hence, the only ambient info remaining is the room's or the playback system's deficiencies present a scenario where a small percentage of of the recording's ambient info remains audible but still small enough where it now is in direct competition with the room's anomalies. But again, I suggest it's not the room itself causing the override or imbalance. Also, this way we don't have to possess any knowledge of any specific room or its associated playback system. We're only listening to a playback system's deficiencies. And that requires zero knowledge of specifics.

Some might consider this symantics but it's actually a big deal. Especially when this industry has a history of chasing effects rather than causes.

Good point on the learning the videos suject as we're all in the same boat there. I think it's great because these videos fill in a few gaps that have been gaping. I think these videos present an opportunity to make us all a bit more well-rounded in time.
 
The standard to meet in all these video's is the one PeterA submitted on his system thread
, imho. The music breathes in that one -- it's not doing battle with the room.
You have to factor in the different pressing that Peter was recording too. I bought the same Scheherazade, Mehta after he posted. The presentation is different from Reiner's. A small room with that recording should also not have a problem breathing. The tone is softer. The sound panned very wide with a sense of being little further back disconnected behind the speakers. So the recording makes it easier to breath. @gian60 would describes in his Italian way as very out of speakers (Speakers disappear).

I like Peter's video of that Scheherazade very much too. It is more than good enough to stop Kedar bothering Peter about his Magico.
 
Haven't listened to the system for days due to too much DIY but managed to spin some new tunes. This one from Andrew Bird - Skating, from the album Hark, streamed from Qobuz. Does it still sound too strident and dynamic to you guys?
 
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I think Leinsdorf's Scheherazade is not with the LA Phil. It was the Concert Arts asymphony Orchestra.
Even better but I suspect that other than studio musicians that the Concert Arts Symphony was staffed by the LA Phil as well. Do you think Felix Slatkin was the concertmaster of the Concert Arts Sym (he founded it) instead of whoever it was at the LA Phil?
 

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