I was just thinking that any attribute can be too extreme to sound good.
Best,
E
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Dave,
Sorry no worries.
Best,
E
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While on the subject of "realism" one thing that I think is under appreciated, but now Wilson is getting on the bandwagon, is the rear facing driver.
First time I can remember seeing this was in Snell speakers. In the right settings, these can do a couple of things:
1. Control dispersion
2. Create a realistic sound field by bouncing significant amounts of energy off of rear and side walls.
I have mixed feelings about this, but I think perhaps especially with piano sounds this could be a really big improvement, and allow us to experience something much closer to live, in some ways. I mean, truth is we are creating something new and not in the original recording, so I feel strongly this is like a post-processing effect.
On the plus side, if it sounds good, why not?
Best,
E
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Maybe this will help. In the area of detail and imaging, I think there is a range:
Detail:
Dull -------> Natural ---------> Ragged and artificial
Imaging:
Poor ------> Natural -------> Artificial, over delineated
Buy what you like. I don't care what that is. I'm only discussing what I think is realistic. Let me put a brand out to discuss: Magico.
Not my favorite brand actually, but in these two areas I think they do a very good job. Detail is consistent, octave to octave, and imaging is enjoyable and natural over a wide listening location.
If a speaker makes you hear an album in "a way I've never heard before" it probably means the frequency response is less than ideally smooth. By accentuating narrow bands, and tilting up the treble, they make us feel we have the ears of a 19 year old. Smoke and mirrors.
The same with imaging. Listening to orchestral or large choral works, if you think you can pick out every single instrument it's probably not natural anymore. I certainly can't in real life.
But that's just me, and "realistic." As I noted before, realism is not always the goal. Listen to things that make you happy. Pay for only that which you can grasp with your own ears.
Best,
E
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I'm not saying there is no imaging in real life, obviously. I am saying that some high end speakers seem to make this effect more etched than real life. Like turning on the sharpness settings on a TV.
Sometimes this effect is bought at the price of a dip around 2.4kHz. A convenient place since crossovers often occur around there. Designers can push the individual driver crossover points a little apart to achieve this.
Best,
E |
Also, PLS is an example of my problem. I really can’t listen to these tracks right now! :) It’s too good and I want to play it full out.
Lots of other albums to play in "night mode." |
Dave,
In terms of musical versatility, chops, and recording quality, Parking Lot Symphony may be the greatest album I have ever heard.
Best,
E |
yeah, that’s a great track.
I do hear what you mean. It’s easy to get that wrong. Either sounds like Tupperware lid, or etched. It’s a good test.
This was a fail on the Revel’s I listened to recently, but not a disaster. Seemed to play the mouth piece louder than the horn.
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Also, I get "bitten" more by "High End" loudspeakers deliberately tuned bright, and ragged. It makes the speakers seem like you can hear never-before sounds in your recordings.... and tires you out fast. Again, not realistic, but pays the bills.
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@dlcockrum
Check out Trombone Shorty's Parking Lot Symphony though for amazing sound and dynamics and music! :)
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My opinions:
1 - I don’t usually want LIVE volumes. I’m afraid 80% of my listening is background or late night, low volume. So I need speakers that sound good even then. Having actual performance level volumes is not my first priority
2 - Imaging. I challenge everyone to go to a live acoustic event and close their eyes and listen. Compare to home. The truth is most real life venues imaging is not that specific. Listen to a street busker even. Close your eyes and compare. IMHO, "hyper imaging" is not at all realistic and a deliberate artifact of speaker tuning.
3 - I do care about butter smooth frequency response, natural attack and decay, and the ability to convey the music, voices and environment with complete effortlessness. Again, listen to real instruments for this.
Best,
E |
