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Further back (before the debate on advertiser presence) we had comments like:
I made a remark to you on the sub forum about using physically small satellites for the stereo speaker (not "small" as in 80Hz crossover), that you didn't seem to understand there either.
Now I don't come from "steely dan", and I have no idea how pop music is supposed to sound (even live it's been through electronics rather than being purely acoustic), but I know very well how what I listen to sounds in the concert hall and opera theatre. I know that there's no way I can get soloists, a chorus and a full symphony orchestra in the comparatively minuscule space at the end of my lounge.
This doesn't however make attempting to achieve "the closest approach to the original sound" [Quad's slogan] irrelevant, even though the entire width of an orchestra is being compressed into a few meters (even a string quartet uses more real room). Art music recordings are made with the sole goal of being "the closest approach to the original sound". They do not "flick any switches on an effect console" - the critics and purchasers don't want artificial sound. When a recording accentuates the Viola d'Amore in a Janacek recording to make it audible, it's normally clearly stated in the accompanying documentation!
Nevertheless, when I listen to a recording or watch a BD/DVD of an opera recorded in the Zürich Opera house or Covent Gardens, I can apply experience (a bit rusty with Covent Gardens). But even when I listen to recordings made in venues I've never attended, I can still apply experience to know reasonably well how the sound should be and to hear the venue through the recording. Needless to say, "does it sound like the real thing" is very much my goal, and - probably incorrectly - it is also what I assume others are trying to achieve within their budgets, and why I tend to react poorly to posts asking for a sort of sound that clearly is at odds with that target (overblown bass, rears that are as loud as the front, warm, smooth - you get the idea). |
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