Just one other thing: rather than a "gritty sandpapery reverberation" what I hear when there are problems is more of a harsh glare, a kind of steely sound that might otherwise suggest that a component or a speaker is close to its performance envelope. Perhaps instead it was the recording device (ADC or whatever) that was close to its limit.
the sound of massed violins in classical orchestral recordings
why do massed violins have this sort of gritty sandpapery reverberation in classical orchestral recordings?even in some sections of a piece, when the violins are playing softly in the background, you hear that gritty overtone more than the melody.when I listen to the Houston symphony in Jones Hall,sitting fourth row, facing the violin section, I don't hear that sound.I have three systems { two of them mid-fi ] and I hear the same thing-even with headphones.in all instances, the other parts of the orchestra are clear. my main system : Vanalistine Trancendence 10 tube preamp,a 35 year old solid state Proton D1200 amp, [have tried NAD,Project, Musical Fidelity amps--they don't sound any better],Onkyo dx7555 CD player [Stereophile class B],and Project Carbon turntable with Grado Black 2 cartridge [ the Ortophon Red was too bright ] through Magnepan MG12/QR speakers.Tried a highly regarded Elac speaker--no change as far as the violins go, but way inferior to those dramatic Maggies.So, there you have it. Is it the equipment? Is the state of the art not up to recording violins? Is it me? [its o.k.-I can take it}. In closing,a couple of years ago,I had phone conversation with a well known person associated with a major speaker company about this. His response :[ paraphrased ] Violins are a problem--don't like 'em. Any input will be appreciated. Thanks.
Showing 6 responses by twoleftears
This is not a problem that is ubiquitous; it affects perhaps a good number of recordings, but certainly not all of them, and to varying degrees. From which I conclude that it has to do with the various recording conditions: the space, the mikes, the recording equipment, the most-recording processing, etc. |
As others have said, massed violins, especially playing ff, are hard to record, but some engineers and some labels seem to get it right at least some of the time. In my experience early all-digital Deutsche Grammophonen CDs were some of the worst offenders. Things can be ameliorated by seeking out more "forgiving" components and more "forgiving" speakers. The problem is you may lose an incisive quality that you like on other recordings. It's a fine balance. The sorry truth is that you're unlikely to find mid-fi that walks that tightrope successfully. |
@6119 Several years ago I copied tracks from a variety of CDs on to one CD-R so it would be easier to carry around when auditioning equipment. One of the tracks was the first movement of the Barber violin concerto played by Shaham, exactly the recording you mention. So we have a concrete data point in common. I put the Barber on the CD-R precisely as a test of violin reproduction (as well as bass--those falling two-note bass figures in the background). What I can tell you is this: the DGG recording is never going to be described as forgiving, but it can be played on equipment without inducing the slightest wince, grimace, or tensing of the muscles. It just depends on the equipment in the system, because these days listening to that recording at home is a pleasant and rewarding experience. While I'm at it let me recommend this recording of a consort of viols as a wonderful test of overall timbral reproduction of stringed instruments (as well as an excellent CD):https://www.amazon.com/Crye-TYE-HUME-TALLIS/dp/B000025DFV/ref=sr_1_1?dchild=1&keywords=crye&qid=1599586146&s=music&sr=1-1 |
It's well known that Karajan was a particularly enthusiastic early adopter of digital recording and the CD. He make pronouncements on its superiority to anything achievable by analog technology. And like I say, given the dubious quality of the early ADC machines handling the feed from the mikes, the recordings from that period often suffer from a lot of digital glare. Since then, things have improved very considerably. But you can make your entire CD collection eminently listenable through careful selection and combination of components. |