For me the term pinpoint/cutout have always had a negative and literal connotation, a sharp modified unrealistic and homogenized representation vs the term stereo image and soundstage which can be natural or not.
david
I find this thread a bit strange as all you need to do is optimize your imaging focus to taste using readily available test set-up CD's and DVD's. Once you are done you quickly realize that recordings are all over the block and not in anyway consistent WRT imaging.
I find this thread a bit strange as all you need to do is optimize your imaging focus to taste using readily available test set-up CD's and DVD's. Once you are done you quickly realize that recordings are all over the block and not in anyway consistent WRT imaging.
.. a number of voices of same proportion and very similar and nearly indistinguishable tone and timbre aside from gender. Loudness is also the same for all voices and instruments if any. Literally its a collection of pinpoints without much crossover of voices and sound as there would be in a real life.
This goes to different group of instrument and the instrument within the group Itself in orchestra too. It took me two years to really understand the term homogeneity. I read it. I thought I understood it. But what I thought understood was just the surface. Only when I heard more and more degree of contrast and differentiation starting from the introduction of AS2000, then stripping off sound enhancing gear one by one, I began to realize I was only at a bachelor level. You may think you have an un-homogenize sound. Wait until you hear the very very un-homogenous high resolution system and you will know the exact direction how you want to improve your system further. It could even give back cash instead of pouring more in too. What ddk said above are allover in so many systems because we have been trending with hi-fi reviews and articles. Saying it is just going against the mainstream and create annoyance and accusation of supremacy. But hopefully some people can at least accept it as an alternative approach (while the advocates believe should be the main approach of course.) so that not all of us would head ourself totally along the commercial stream.
(...) But hopefully some people can at least accept it as an alternative approach (while the advocates believe should be the main approach of course.) so that not all of us would head ourself totally along the commercial stream.
Surely it is an alternative approach - and as valid as any other in stereo. I have tried it, as I own all the components. My disagreement was never with your description of your approach, but with the misrepresenting of the others and the semantics. BTW, these are the F. Toole words on the subject:
"In the two-channel world, therefore, the artists could not anticipate precisely how their performances would sound in homes. It was left to the end user to create something pleasant. Stereo, therefore, is not an encode/decode system, but a basis for individual experimentation. The fact that both audiophiles and the audio industry have thrived in spite of this situation is a tribute to the power of human adaptation. Given time, we can come to believe that many different variations on the truth are apparently equally entertaining"
I do like DDK definition on this issue, as it gels with my experience
as my imaging of individual instruments has improved the graduation of timbre between instruments has improved commensurately and various micro details of expression
different brass and woodwind can challenge systems as well as viola and cello at times
my system is quite large and as timbres have improved the size and scale of images have fleshed out , and gained dimensionality and size, this surprised and delighted me though I am not sure it’s not an artefact but to me an enjoyable one, it’s not consistent with concert going unless your very close, but my understanding is most orchestras have miking not far away so it is an ‘unnatural‘ presentation
stereolabs notes on miking http://www.pspatialaudio.com/microphone technique.htm
Good morning ladies and gentlemen of the WBF. In another thread, there has been a discombobulated discussion with what exactly this means to listeners. The comments suggested that this term, with regards to hi-fi reproduction, needs a little bit more clarity with what it actually means. This thread is an attempt to further clarify what it means and "hopefully" we can all come to a general consensus as to what it means for most of us when we use the term. At the very least, it may shed some light into the way this term is perceived.
For some? It's a bad term thought of in negative light. For others? It's a positive that adds to the listening experience.
This article passed my way about 10 years ago and appears to be no longer available on the internet. I've not read it in 10 years but I just skimmed a few pages. I think you'll find the answer to your question about pin-point imaging in here. As well as a few answers to questions perhaps not yet asked. Seems to be an insightful article.
This article passed my way about 10 years ago and appears to be no longer available on the internet. I've not read it in 10 years but I just skimmed a few pages. I think you'll find the answer to your question about pin-point imaging in here. As well as a few answers to questions perhaps not yet asked. Seems to be an insightful article.
I must give a bow to you guys. You people are in this hobby like doing a phd. You guys teach me a lot the objectivity nature of western culture. Make me think there is always a lot more to it than selling fertilizer chicken dung in life.
This article passed my way about 10 years ago and appears to be no longer available on the internet. I've not read it in 10 years but I just skimmed a few pages. I think you'll find the answer to your question about pin-point imaging in here. As well as a few answers to questions perhaps not yet asked. Seems to be an insightful article.
Thanks for posting, the rationale behind modern instruments being voiced bright is something I had not considered... combined with the close-mic'ed recording techniques it explains a lot.