In an era when polar opposites compete as absolutes, it can be a challenge to acknowledge the different and equally valid ways in which audiophiles approach musical truth. But the reality is that our perceptions of how reproduced music should sound are determined, to a large extent, by how we approach the live experience. For live acoustic performances, some of us prefer a direct, up-close sound, where highs are most vibrant, the spatial nature of sounds is most distinct, swells in volume can sometimes seem assaultive, and detail is most easily perceived. Others would rather sit farther back or in the top balcony, where highs mellow out while lower octaves remain strong, and the resonance of the performing acoustic adds warmth and glow to the musical experience. The collective skill of the architects and acousticians who designed our favorite halls, as well as the background noise created by air circulation equipment, also play a large part in the formulation of our sonic expectations.
Amplified music, regardless of genre, can be an entirely different ballpark—hey, concerts often take place in stadiums and arenas where distance from speakers and stage, as well as the quality of amplification, are crucial to our expectations. Do the speakers distort or the woofers predominate when everyone starts playing at once? Is the sound system maximally colorful, or does it have a high noise floor that lends a gray patina to everything? What microphones are they using? Are the sound engineer’s ears intact, or have they been irreparably damaged from years of working with loud bands? Anyone who regularly attends live concerts has experienced what happens when the sound engineer sits under the balcony or at the very back of the performance space and calculates tonal balance (and volume!) on something very different than what those up front hear.
هذه القصة مأخوذة من طبعة March 2020 من Stereophile.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
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هذه القصة مأخوذة من طبعة March 2020 من Stereophile.
ابدأ النسخة التجريبية المجانية من Magzter GOLD لمدة 7 أيام للوصول إلى آلاف القصص المتميزة المنسقة وأكثر من 8500 مجلة وصحيفة.
بالفعل مشترك? تسجيل الدخول
AURAL ROBERT
Another \"outlaw\" country artist
Nina Simone: Wild Is the Wind
By all accounts, Eunice Kathleen Waymon, aka Nina Simone, who passed in 2003, was a troubled person and a brilliant artist. Why she was not more acclaimed during her lifetime is a question several recent film projects have tried to answer. Did her fierce stand on civil rights lose her fans?
Vintage hi-fi, old and new
Many audiophiles and serious music lovers are passionate about vintage. Vintage has become a popular \"way in\" to the hobby, especially popular among younger folks.
Tekton Moab Be
LOUDSPEAKER
ARCAM Radia A25
INTEGRATED AMPLIFIER
Wharfedale Heritage Series 90th Anniversary Dovedale
LOUDSPEAKER
Technics Grand Class SL-1200/1210GR2
RECORD PLAYER
Thrax Audio Siren
Based in Bulgaria, European audio company Thrax has been active since 2009.
EMM Labs MTRS
STEREO POWER AMPLIFIER
SPIN DOCTOR
Alternative phono cartridge technologies and the DS Audio DS-W3 optical cartridge system