Reproducing Enya
Evan Champion
is sort of mid-grade) has never been able to reproduce the sound
properly. I heard it on a Kef (101's I believe) and the quality
difference was incredible (though even that couldn't do it all; I
suspect it was because there was no sub in that system and the Kef's
needed some help at the lower end).
Anyway I have decided that I might give myself a nice birthday present
and solve my Enya playback problem :-) Unfortunately, I find there are
just so many products that look the same, and I don't have time to do
a lot of investigation on my own.
As I have somewhat resigned myself to building the system from
scratch, I'll need:
- AC3 receiver
- 5 speakers (front left/right, center, rear left/right; I could
probably use my present front left/right for the rear left/right
in the new system as I don't think I'd notice the difference, so
maybe make that 3 speakers)
- 1 subwoofer
- HDCD player (I am hoping her discs will be re-released :-)
If you're not familliar with Enya's music, it is very demanding of all
sound ranges, especially the low end. I am looking for something that
can produce crisp, clear and most importantly full music.
While I'd like to say that price is no object, my bank account might
not agree :-) In doing some preliminary searching around the net, I
think that I should be able to accomplish the above in the $10K area.
Any help you can give would be very appreciated.
Evan
mobius
>I am a big Enya fan but I've always felt that my present system (which
>is sort of mid-grade) has never been able to reproduce the sound
>properly. I heard it on a Kef (101's I believe) and the quality
>difference was incredible (though even that couldn't do it all; I
>suspect it was because there was no sub in that system and the Kef's
>needed some help at the lower end).
>As I have somewhat resigned myself to building the system from
>scratch, I'll need:
>
>- AC3 receiver
>- 5 speakers (front left/right, center, rear left/right; I could
> probably use my present front left/right for the rear left/right
> in the new system as I don't think I'd notice the difference, so
> maybe make that 3 speakers)
>- 1 subwoofer
>- HDCD player (I am hoping her discs will be re-released :-)
Enya does use low-frequency synths quite a bit, so a subwoofer might
be a reasonable component to have in your system. Either that or
speakers that do a good job of reproducing very low frequencies.
Since you're budgeting $10K, I'd suggest taking that approach. As far
as I can tell, there's no need for more than two speakers to reproduce
Enya's (or any) music, unless you're planning on adding multi-channel
signal processing on top of music that is already laden with studio
effects. Personally I think that's a bad idea.
As for HDCD, it's doubtful that her CDs will be re-released in
HDCD-enhanced versions, though it's certainly possible that new output
may be.
I have mixed feelings about Enya. I like Watermark, and Shepherd
Moons is okay, if thin, but both The Celts and The Memory of Trees
cross the border into kitsch. The former has some particularly jejune
musical ideas. But for the most part, she (and her engineers) make
attractive, very stereo-friendly music.
Colin Miller
>
> I am a big Enya fan but I've always felt that my present system (which
> is sort of mid-grade) has never been able to reproduce the sound
> properly. I heard it on a Kef (101's I believe) and the quality
> difference was incredible (though even that couldn't do it all; I
> suspect it was because there was no sub in that system and the Kef's
> needed some help at the lower end).
>
> and solve my Enya playback problem :-) Unfortunately, I find there are
> just so many products that look the same, and I don't have time to do
> a lot of investigation on my own.
>
> scratch, I'll need:
>
> - AC3 receiver
> - 5 speakers (front left/right, center, rear left/right; I could
> probably use my present front left/right for the rear left/right
> in the new system as I don't think I'd notice the difference, so
> maybe make that 3 speakers)
> - 1 subwoofer
> - HDCD player (I am hoping her discs will be re-released :-)
Surround sound has nothing to do with it. I don't know what you
prefer as far as sound characteristics, but the biggest differnece
will come with a subwoofer, so I recommend that you audition one in
your present system immediately. Tenth track, The Longships on
Watermark. You can't really hear much of it, but my lord, you'll
understand.
Matt Kruse
| but the biggest differnece
| will come with a subwoofer, so I recommend that you audition one in
| your present system immediately. Tenth track, The Longships on
| Watermark. You can't really hear much of it, but my lord, you'll
| understand.
When I was shopping for my new sub, I had brought along my Watermark
CD because I knew it had good, clean bass (although I had never
actually heard it). Not suprisingly, the sales rep had it as well, so
I didn't need mine :)
Track 10 is truly impressive, but I prefer #1 - Watermark. At about 1
minute into the song, the first big bass "thump" hits. The first time
I heard this, I was totally amazed. Until then, I had listened to the
song with my Cerwin Vega "subwoofer" and thought it was great. But
listening to it with the Velodyne F1500 *really* showed me how much
true bass was there. And throughout the rest of the song, I kept
thinking to myself, "I never knew that note was there" :)
The sales rep told me that Watermark was probably the most popular CD
that people brought in to sample speakers and components. :)
--
Matt Kruse
mkr...@demian.sau.edu
http://web.sau.edu/~mkruse/
------------------------------------------
mkstats-raytracing-perl-horner-psx-pov-cgi
Mike Ford
<ev...@synapse.net> wrote:
>Anyway I have decided that I might give myself a nice birthday present
>and solve my Enya playback problem :-) Unfortunately, I find there are
>just so many products that look the same, and I don't have time to do
>a lot of investigation on my own.
>
>If you're not familliar with Enya's music, it is very demanding of all
>sound ranges, especially the low end. I am looking for something that
>can produce crisp, clear and most importantly full music.
If your not familiar with demanding music, Enya may seem demanding. I
love the stuff too, but you don't have to go far up the audio food
chain to get it to sound about as good as it ever will. It does beg to
be played at fairly high levels, and the low bass associated with that
will require a decent subwoofer in all but the monster full range
speakers. A decent set of smaller speakers with a sub will do a nice
job though too.
Enya's vocal style though is crafted to sound good even on a boom box,
with lots of distortion in playback masked by the layering of her
voice.
>While I'd like to say that price is no object, my bank account might
>not agree :-) In doing some preliminary searching around the net, I
>think that I should be able to accomplish the above in the $10K area.
It is nobel you wish to stimulate the economy to the tune of ten
large, but first you will have to make some choices or almost
certainly be unhappy. While $10k is plenty to get a good system, it
isn't even close to bypassing comprimises. Nothing I know of will play
as loud as Klipschorns and sound as clean as Quads. I don't know what
your current speakers are, but unless they are dipoles already keeping
them for the rear channels will be a poor choice in a high quality
system.
Initially you were talking about Enya (music), but the stuff you list
is all AV, these diverge at about half the amount you want to
spend. The best music speakers are not the best AV speakers in the $4k
and up a pair range.
One last paragraph of picking on you then I will make some suggestions
that I would consider myself, and for my tastes. Listen to a few $10k
systems, to see what things you like. How loud, low, clean, detailed,
big, small, remote controlled, multiroomed, high tech, low tech, and
the split in interest between the music and AV directions. Anyway you
wanted suggestions, here are some of mine.
Loud and AV leaning:
Klipschorns, VMPS sub, Sony amps, 2000ESD preamp, and hot CD player.
Not loud and not AV:
Quad ESL 63s, Entec or gradient subs, Levinson or Spectral amps,
passive preamp, and hot CD player (ala Sony's top).
Loud and AV II:
NHT 3.3, more NHT, Bryston amps, Sony 2000ESD, and CD player.
I would suggest also listening to some of the following speakers;
Carver, Kef, B&W, Tannoy, Magnapan, Audiolab, Duntech, Thiel, Snell,
and in subwoofers Hsu, Entec, Velodyne, Paragon, and Bag End. Other
people here will have their own suggestions I am sure.
For some demanding music try solo vocals, choirs, organs, movie
effects, and some orchestral. Specific examples on CD I use are,
Julienne Baird on Dorian, Contate Domino on Propryius (sic), Pictures
at an exhibition on Dorian, dinosaur footsteps in Jurassic Park, and
something with Dutoit.
Have fun, and choose wisely.
Evan Champion
> Surround sound has nothing to do with it. I don't know what you
> will come with a subwoofer, so I recommend that you audition one in
> your present system immediately. Tenth track, The Longships on
> Watermark. You can't really hear much of it, but my lord, you'll
> understand.
I understand that surround has nothing to do with it, but on
occaision I do listen to other things besides Enya and that includes
my DSS which does benefit from surround. If I was going to do a
major upgrade, I would have to look at things like a new centre
channel etc.
Watermark is ambisonically encoded which does take advantage of
multiple speakers. The best (and one of the only, btw) ambisonic
decoder I have found is most likely from Meridian though I haven't
figured out where I can get one and how I'd integrate it in to my
existing system. In addition, I have a feeling that the decoder
alone would take most of my hardware budget :-)
On the subwoofer front, I have looked in to M&K and Velodyne but
beyond the general observation that the more expensive units are
better I really can't tell the difference between the two's offerings
(or anyone else's, for that matter). I am convinced that 99% of the
"revolutionary designs" flouted in the texts that I have read are
garbage as to my knowledge nothing revolutionary has happened in sound
reproduction (at least when it comes to speakers) in a long time.
I have good hearing for details and can be picky, but there gets to
be a point where a) the difference in money doesn't justify the
difference in sound and b) the difference in sound is such that
unless you know there is a difference you'd never hear it :-)
Evan
Evan Champion
> If your not familiar with demanding music, Enya may seem demanding. I
> love the stuff too, but you don't have to go far up the audio food
> chain to get it to sound about as good as it ever will. It does beg to
> be played at fairly high levels, and the low bass associated with that
> will require a decent subwoofer in all but the monster full range
> speakers. A decent set of smaller speakers with a sub will do a nice
> job though too.
I have listenned to Enya on all kinds of setups, from cheap walkmans
to high end KEFs and pretty much everything in between. You have to
work very hard to make Enya sound bad :-) but I have yet to find a
setup where I feel I am hearing the music in its entirity and in the
way it was meant to be played. You can lose quite a bit of the sound
and still enjoy it; I just want to hear what I've been missing :-)
> Initially you were talking about Enya (music), but the stuff you list
> is all AV, these diverge at about half the amount you want to
> spend. The best music speakers are not the best AV speakers in the $4k
> and up a pair range.
I have a DSS system and all the movie channels so having a surround
configuration is important to me as well as being able to reproduce
music with a high level of fidelity. The rear speakers in a surround
configuration are (IMHO) of relatively minor importance and it is
primarily the center, followed by the left and right, that are most
relevant. For music reproduction generally only the front left and
right are important unless you get in to digital effect decoders,
etc., so already there is a dilemma to be resolved :-)
I am looking for a configuration that can perform well in both
environments and that won't break the bank. There is a happy medium
somewhere between the two and it all depends on what I will be losing
by chosing a particular configuration that matters.
It is my opinion that speakers follow a logarithmic scale; in the
beginning, adding more money does get you much better performance.
Once you get to about $2K/pair, the amount of money invested is not
proportional to the improved performance, and the added performance
drops off fairly quickly as the dollar value skyrockets. I am not
convinced that some of these $10K+ speakers sound any better than than
$2-4K speakers when playing general purpose material.
> I would suggest also listening to some of the following speakers;
> Carver, Kef, B&W, Tannoy, Magnapan, Audiolab, Duntech, Thiel, Snell,
> and in subwoofers Hsu, Entec, Velodyne, Paragon, and Bag End. Other
> people here will have their own suggestions I am sure.
I have looked in to Kef, Velodyne and M&K; I will be heading to Carver
and a few others in a bit. I have been told that I should be looking
in to electrostatic and ribbon panel speakers because they have very
realistic voice reproduction; suggestions there were Magnaplanar,
Eminent Technologies and Carver, and I found Newform Research on my
own. Unfortunately a lot of the companies you and others have listed
have either no net presence or a very poor net presence which is
making my research difficult.
Evan
Martin Leese - OMG
...
>> Watermark is ambisonically encoded which does take advantage of
>> multiple speakers.
The consensus over here in Ambisonic Land is that although Watermark
sound good through a UHJ decoder, it is not, in fact, UHJ encoded.
In the lastest version of the UHJ Discography, Watermark has been
relegated to the "Rumours" Section. (The UHJ Discography is available
on my WWW and FTP servers.)
The only way to know for sure would be to ask the recording engineer.
Is anyone in a position to do this?
>> The best (and one of the only, btw) ambisonic
>> decoder I have found is most likely from Meridian though I haven't
>> figured out where I can get one and how I'd integrate it in to my
>> existing system. In addition, I have a feeling that the decoder
>> alone would take most of my hardware budget :-)
Decoder manufacturers are listed in Section 18 of the Ambisonic
Surround Sound FAQ (also available on my WWW and FTP servers). Sadly,
it is a short section. The Meridian 565 DSP Surround Processor will
set you back about 2000 UK pounds or US$3000. It has analogue inputs
and outputs in addition to the Meridian digital ones. Dealers are
listed on the Meridian WWW page, http://www.meridian.co.uk/.
Regards,
Martin
E-mail: mle...@omg.unb.ca
WWW: http://www.omg.unb.ca/~mleese/
FTP: file://ftp.omg.unb.ca/pub/ambisonic/
RUDBOYS
feel (I used to listen to her on a little rack system) But also found
out what a good artist she is to use as a audition disc.
I currently use the Apogee Mini-Grands in my system and I have not
heard a loudspeaker that can reproduce Enya better. The artificial
spaciousness in her recordings is absolutely huge on the Apogees, and
the deep bass is enough to shake the floor on The Long Ships. . .and I
have a slab floor!
At $6500 they will put a significant dent in your budget, but I feel
they are the best in their price range or anywhere near. The only
problem is the need for TWO high quality/high current/high power
amplifiers, which may stretch your budget too far? I use a Classe' 25
to drive the panels and a Classe' S-700 to drive the subs at 250 and
200 wpc each respectively.
If you have a chance give em a listen!
Chris Rud
Matt Wenham
> Enya's vocal style though is crafted to sound good even on a boom box,
> with lots of distortion in playback masked by the layering of her
> voice.
Yes, indeed. If you want some female vocal music to do a better demo
to, I'd recommend Anna Caram's 'Rio After Dark' on Chesky, or Suzanne
Vega's '99.9 Farenheight Degrees' on A&M. Much better than the
over-produced slush to be found on and Enya disc. Not that I don't
like it...
Matt Wenham.
Anthony Soong
says...
> I am a big Enya fan but I've always felt that my present system
> (which is sort of mid-grade) has never been able to reproduce the
> sound properly.
My wife and I are also big Enya fans. I have recently added a
subwoofer to the system. Only now did I understand the amount of music
I was missing. However, I found that the audio enginner equalized her
recording by boosting signals below 60Hz. This is probably done so
that her music will sound good on small systems. (BTW: Why can't
recording engineers leave their hands off the equalizer like they do
at Telac?) I am getting quite annoy at having to rebalance the sub
every time I put on an Enya disk. Nevertheless, a good subwoofer will
add significantly to your enjoyment of her music.
By the way the sub that I chose was the Definitive Technology
Powerfield 1800 with a 500 Watt amp. The 3dB point is at 13 and
125Hz. I think that mated with a good main speaker like the Maggie
SMGc it will do a fairly good job on Enya.
__
Anthony C.K. Soong anthon...@ualberta.ca
Research Engineer ph: (403) 472 - 5276
Clinical Diagnostics & Research Centre fax: (403) 472 - 5359
Alberta Hospital Edmonton and Telecommunications Research Laboratories
University of Alberta
Sean M. Kelly
>Mike Ford (mike...@kaiwan009.kaiwan.com) wrote:
>Yes, indeed. If you want some female vocal music to do a better demo
>to, I'd recommend Anna Caram's 'Rio After Dark' on Chesky,
The above mentioned CD is absolutely amazing. I own many "audiophile"
disks and this one is my ultimate reference. highly recommended.
Sean M. Kelly
smk...@netusa1.net
Adam Richardson
the first track is stunning.
Others include "Tuesday Night Music Club" by Sheryl Crow, "Marvin: The
Album" by Frente, and one of the Lori Lieberman disks on Pope Music
(can't remember its name). From this one, however, I have a hard time
localizing her voice - it always seems a little smeered and wanders
around a bit. I've tried it in a couple of different systems, and the
effect is always the same. Tonally, it's wonderful however.
-Adam
Tom Pohorsky
RAD is indeed killer, but I think her "Other Side of Jobim", also on
Chesky, has an even more natural sounstage. Musically I prefer RAD,
but Jobim is no slouch :-).
Also very good female vocal recordings are Rickie Lee Jones Pop-Pop
and KDLang's Ingenue, but they're more in the multi-miked larger-than-
life still. Pop-Pop has great string bass and instrumental timbres.
--
- Tom Pohorsky to...@Legato.com
harding
tweeter, about 300 UK pounds) set on really rigid, spiked sand filled
stands and it certainly sounds great to my ears!
Even at this price level, I find that the rest of the system makes
much more difference than the speakers, and I certainly won't be
spending any more on speakers until I have acquired a really high
class front end and amp.
I agree that Enya is not that demanding. They use a lot of the
material from "the Celts" as background for TV ads over here in the
UK, and most people seem to like it even coming out of their tv
speakers!
[quoted text deleted by RD]
Ton Maas
Pohorsky) wrote:
>Also very good female vocal recordings are Rickie Lee Jones Pop-Pop
>and KDLang's Ingenue, but they're more in the multi-miked larger-than-
>life still. Pop-Pop has great string bass and instrumental timbres.
I think that "Pop pop" is one of the most underrated "audiophile"
recordings of recent years. Very intimate and natural sounding
production. Fans of Rickie's jazzier work may also be attracted to
Lori Carson's "Where It Goes" album on Restless Records. Different but
also highly recommended are June Tabor's most recent albums for
Cooking Vinyl: "Angel Tiger" and "Against the Streams". Both have a
very natural quality, not unlike some Chesky albums (Sara K. comes to
mind).
Ton Maas, Amsterdam NL
Accutronix
Holy Cole "temptation"
Recording is well done. Bass is awesome. Sounstage has depth and
good image placement. Holy Cole's voice seems to have been recorded
very naturally.
Tori Amos "????????" (I forgot the name, it's her latest one)
Really cool sounding piano and harpsicord. Bass is a little wierd,
but not bad for a pop recording. Her voice is a little piercing, but
I think that's the way her voice is. Her lyrics of course are always
piercing.
Arnie
Mike Ford
Anthony Soong <anthon...@ualberta.ca> wrote:
>
>My wife and I are also big Enya fans. I have recently added a
>subwoofer to the system. Only now did I understand the amount of music
>I was missing. However, I found that the audio enginner equalized her
>recording by boosting signals below 60Hz. This is probably done so
>that her music will sound good on small systems. (BTW: Why can't
>recording engineers leave their hands off the equalizer like they do
>at Telac?) I am getting quite annoy at having to rebalance the sub
>every time I put on an Enya disk. Nevertheless, a good subwoofer will
>add significantly to your enjoyment of her music.
>
>By the way the sub that I chose was the Definitive Technology
>Powerfield 1800 with a 500 Watt amp. The 3dB point is at 13 and
>125Hz. I think that mated with a good main speaker like the Maggie
>SMGc it will do a fairly good job on Enya.
I don't have this problem at all, and haven't fiddled with the
subwoofer controls since I set it up with a test CD and SPL meter a
year or so ago. Your listening preferences are your own, but if you
need to make adjustments for different material (video excepted) maybe
something isn't quite right in your system. Perhaps the sub is located
in a "hot spot" for some frequency used on the Enya disc and not
others?
BTW if it is on the CD it wasn't some engineer having a lark, Enya or
her troop would have complete control of that issue. Studio monitors
may not be perfect, but a rolled off low end isn't one of there flaws.
Real Name
>I don't have this problem at all, and haven't fiddled with the
>subwoofer controls since I set it up with a test CD and SPL meter a
>year or so ago. Your listening preferences are your own, but if you
>need to make adjustments for different material (video excepted) maybe
>something isn't quite right in your system. Perhaps the sub is located
>in a "hot spot" for some frequency used on the Enya disc and not
>others?
I was wondering how you balance your sub with the SPL meter. I balance
my sub with a BRUEL-KJAER 2209 SPL meter connected with a 1616 1/3
Octave Filter, the 4152 artificial ear and the 4144 condenser
microphone. The test CD I used was a Philip test CD with test tones
from 20 to 20 kHz. I balance the sub with the A weighting network to
account for the natural frequency response of the ear. Did you use
dBA, dBB, dBC or the dBD scale? The frequency spectra of each of these
scales are very different. As far as the sub being in a hot spot,
according to my meter, it was within +3 dB and -2 dB from 20 to 20
kHz.
>BTW if it is on the CD it wasn't some engineer having a lark, Enya or
>her troop would have complete control of that issue. Studio monitors
>may not be perfect, but a rolled off low end isn't one of there flaws.
No it is not the flaw of the studio monitor. But sound engineers have
been known to boost the low end (particular with popular music
recordings).
__
Anthony C.K. Soong \../ anthon...@ualberta.ca
Clinical Diagnostics and Research Centre ._/ \_. voice: (403)472-5276
Alberta Hospital Edmonton | / / | fax: (403)472-5359
AudioMaven
albums for Cooking Vinyl: "Angel Tiger" and "Against the
Streams". Both have a very natural quality, not unlike some Chesky
albums (Sara K. comes to mind).>>
June Tabor has been one of my hidden treasures for some time now. If
you have a turntable, try and get ahold of Aqaba on Topic Records in
Britain. This is the best sounding of all her albums that I have.
Myles Astor
The Audio Adventure
C.P. Tomes
[ quoted text deleted -- rgd ]
> BTW if it is on the CD it wasn't some engineer having a lark, Enya or
> her troop would have complete control of that issue. Studio monitors
> may not be perfect, but a rolled off low end isn't one of there flaws.
Pop discs are commonly mixed with boost in the low bass, according to a
friend whose family used to own a recording studio. This is done to make
the music sound better on systems that have minimal bass response.
His current hobby/2nd job is recording engineer for the Cedar Rapids
Symphony Orchestra.
I have also found Enya (and other Irish New Age/pop artists) to be
bass-heavy. I don't mind, for the same reason Mike posted: the artist has
final say in the recording/mixing stage, so if they _don't_ want their work
to be bass-heavy, they will do something about it.
CP Tomes
Neil Williams
> > Enya's vocal style though is crafted to sound good even on a boom box,
> > with lots of distortion in playback masked by the layering of her
> > voice.
>
> Vega's '99.9 Farenheight Degrees' on A&M. Much better than the
> over-produced slush to be found on and Enya disc. Not that I don't
> like it...
A couple great demo disks for female vocals are the Cowboy Junkies
"Trinity Session" and Kathleen Battle's "Pleasures of Their Company".
There's one acapella (?) track on the Battle disk in particular - I forget
the title but I think it's track 7 or 8 - that can induce electronics
to clip where said electronics might do fine on seemingly more "demanding"
material like rock. It's a good test to see how demanding the speakers
can be of the electronics.
--Neil
AudioMaven
<<A couple great demo disks for female vocals are the Cowboy Junkies
"Trinity Session" and Kathleen Battle's "Pleasures of Their Company".
There's one acapella (?) track on the Battle disk in particular - I
forget the title but I think it's track 7 or 8 - that can induce
electronics to clip where said electronics might do fine on seemingly
more "demanding" material like rock. It's a good test to see how
demanding the speakers can be of the electronics.>>
In addition to the previous listed discs, I'd like to add the
following CD for female vocals: Sara Mclaughlin: Freedom Sessions. A
very real, live acoustic recording that lacks the sibilance of her
earlier album. One qualifier - it's a CD-ROM and some Phillips based
transports won't recognize the disc and play it.
KCdgw
Another excellent LP is BEAT THE RETREAT, a tribute album to the songs
of Richard Thompson. The title cut is sung by June Tabor, a British
folksinger with a dark, glorious voice. I saw her live at McCabe's
Guitar Shop in Santa Monica, California, a few years back, and this
recording captures her emotion very, very, well. Every time I hear her
enter the song, chills go up and down my spine.The entire album's
sound is excellent as well. I have used it for auditioning purposes,
where I can find a shop with a turntable, that is. And the music? Top
notch. Bonnie Raitt's version of "When the Spell is Broken", with The
Five Blind Boys From Alabama singing gospel-backup is not to be
missed.
I know Jonathan Scull loves to tout Dead Can Dance's INTO THE
LABYRINTH sonically, and I agree, but another of their albums, AION,
is a good showcase for Lisa Gerrard's haunting voice. The CD is good,
but if you can get the British LP, you are in for a treat. AION also
makes a great auditioning disc.
Finally, Jacquie McShee's crystalline voice sounds gorgeous on
Pentangle's BASKET OF LIGHT. Linn Selekt records re-released it a few
years ago, and I have almost worn it out.
Cheers,
KC
Those who know the truth are not equal to those who love it - Confucius.
Triozzi
I have all of Enya's CD's and I really don't like the sound. Watermark is
probably the best sounding of the them all, with the newest being the
worst. Watermark IS a good demo album though in some respects. Track 7
has some of the most open sounding (though artificial) bass around on good
music. The album is also good for checking bass integration and
soundstage height.
Cowboy Junkies-this is a great sounding album except for the grain in the
guitars. The vocals sound lush and romantic. This is definately "dark"
music (not dark sound).
Natalie Merchant- The is an incredable album! Its got its problems but
they are more the outweighted by the rest of the sound. The vocals are
some of the sweetest and most romantic around and come through loud and
clear. You should hear a tube like glow thats added to the music. Tack
2,7 and another I can't remember sound worse then the others. The music
is fantastic too (she is even better in concert).
Sara K- These are all excellent albums except for the latest one. The
latest is not at all up tp Chesky's high standards, it soundds blurred and
lifeless.
Holly Cole Tempation- This is a great album. The vocals are a little
blurred and the sounstage could be better though. Good music, but Don't
Smoke in Bed is much better.
Triozzi
Thomas Aleto
Give a listen to Carol Kidd on "The Night We Called It a Day" on Linn
Records. Superb singing and sound. Very tight and present bass.
Oneof the best sounding discs I have heard.
Tom Aleto
Scott Drysdale
In article <4m2ntc$f...@tolstoy.lerc.nasa.gov> tri...@aol.com
(Triozzi) writes:
>Cowboy Junkies-this is a great sounding album except for the grain in the
>guitars. The vocals sound lush and romantic. This is definately "dark"
>music (not dark sound).
i thought the opposite: the instruments sound fine, but the vocals
sound rather odd (especially 'S' sounds). a few weeks ago, the local
NPR station was playing a cowboy junkies interview which explained
why. they said that the vocals for the trinity sessions were done by
margo singing into a seperate mic, which was hooked to a PA speaker
which played towards the ambisonic mics. they weren't happy with how
the vocals sounded with her just singing at the ambisonic mics.
--
Scott Drysdale // Scala Inc. // sc...@scala.com // Sanitation Engineer
1960 HD FLH (being restored) & 1957..69 HD FLH (da chop) // AMIGA!
Steve Zipser (Sunshine Stereo, Inc.)
I highly recommend CAFE BLUE by Patricia Barber - the melodies are
haunting, the arrangements are superb, and the instruments are
realistically capyures. Barber has an amazing vocal range.
Steve Zipser
Ross Lipman
[ quoted text deleted -- rgd ]
Try Ricki Lee Jones "Pop Pop"; very naturaly recorded acoustic
instuments and female voice. A good system will let you discover how
many different microphones are used.
Another good choice is Sarah Vaughn "Sarah Vaughn", with Clifford
Brown. Even though it is in mono and recored in Dec 1954 her voice
sounds very natural and clear. Instrument timbers are also reproduced
cleanly.
Just about any of the Verve -Ella Fitzgerald records are also good for
system check out (and the music is wooooonderfull!!!) Please note that
I stated "records", I do not feel that CD quite captures her voice as
well as LP.
Triozzi
[ Originally submitted to the "Female vocal demo discs" thread. -- jwd ]
Enya Watermark- This album has nice sounding bass but its not very low
or powerfull. The bass does sound very "open" and well integrated
though.
Pink Floyd Pulse- This has some low bass but not as much as a couple
of his others. The explosion at the very end of the album is can
shack the house in the right system.
Pink Floyd-Dark Side of the Moon- Listen to the heartbeat on track one
and the beginning of two, its incredible. Track 4 is also good but
not nearly as low. You should hear the different levels of the loud
bass notes in track 4, with many systems they all sound the same. The
Mobile Fidelity remaster is definetly worth the extra money.
Pink Floyd- Wish you were here- Track 2 has some of the lowest and
loudest Sustained bass notes outside of organ music that I have heard.
Robbie Roberts and the Red Road Ensemble-This album has incredable
bass. The bass is all of acoustic origin too. The bass is very
slighty "gritty" however but many systems don't even reveal the slight
grain.
Arrested Development-3 years,5 months and 2 days in the Life of...-The
kick drums on this album are great for checking low bass speed and
integration. The album also has a huge (though artificial) soundstage
width.
Triozzi
Sebastien P. McIntyre
If you like pipe organ music and own transducers & amp(s) to match,
the following may be of some interest:
. "Symphonie Concertante" (Jongen, Op. 81, Organ and Orchestra) &
"Symphonie No. 3 en C mineur" (Saint-Saens, Op. 78 "Organ"),
Jean Guillou (Organ) and Dallas Symphony Orchestra - Eduardo Mata
Conductor, Dorian Recordings #DOR-90200, 1994 (DDD).
(Large American-built organ - Meyerson Symphony Center Hall,
Dallas (TX), down to 16 Hz).
. "Pictures at an Exhibition" (Mussorgsky) & "Three Dances from
Petrouchka" (Stravinsky), Transcribed for organ and performed
by Jean Guillou, Dorian Recordings #DOR-90117, 1989 (DDD).
(Large European-built organ - Cathedral of Zurich, down to 16 Hz).
Both recordings were made 20-bit, 4-channel and remained so (during
post-production) until CD mastering (16-bit, 2-channel transcoding).
*NO* bass roll-off during post-production. You may need to turn up the
volume to a higher level than usual, not because it was recorded at a
lower level, but because it was recorded with the smallest dynamic
range compression possible at Dorian (Such a dynamic range may make
some speakers scream at times but makes the Studios sing).
--
,
Sebastien P. McIntyre
John Yow
Phil Collins - In the Air Tonight
This is about the only Phil Collins album worth listening to. The
drum solo in the middle is pretty awesome.
Rob Wasserman - Duet
This is ROb Wasserman's (double bass player) duet with a bunch of
people including Jennifer Warnes (Ballad of a Runaway Horse), Aaron
Neville, Rickie Lee Jones, Lou Reed, etc. It really is an amazing
album esp. the duet with Jennifer Warnes.
Crystal Gayle - Best Always (Branson Entertainment BRD 9307)
Suprisingly, this is a must have esp. the first song "Ready for the
times to get better). In superior systems this song is a killer!
Highly recommended!
That's all for now.
Regards
John Yow
Stereo Boy
The Original Motion Picture Soundtrack for the movie EARTHQUAKE on CD
contains a 2 minute Sensurround Special Effects System demonstration
track and a 48 second "aftershock" track.
Both of these have bass that reaches down to 15Hz at MAXIMUM levels.
It is VERY impressive and a test for ANY sound system. The only way I
have heard this reproduced with full power and force is thru the
original Sensurround Horns from Cerwin Vega. They were capable of
16Hz at 130db.
Anyway, the Earthquake soundtrack CD is a good one to have for bass
testing. The rumble on it was taken directly from the Sensurround
Box, which was a digital psudo-random noise generator. It was
programmed to reproduce the same waveform as the 1972 Sylmar
earthquake.
Ty Chamberlain
DiscoVision - THE WORLD ON A SILVER PLATTER!!
Ster...@aol.com
John Yow
Ella Fitzgerald - Clap Hands, Here comes Charlie.
Listen to "Round Midnight", Ella was in the room with you, and it
feels wonderful.
Too many other ones to mention, any Carol Kidd, Shirley Horn albums,
really.
Regards
John Yow
Dana Harmer
...And more organ...
Mendelssohn Organ Works, Peter Hurford, Rieger organ, Ratzeburg
Cathedral. Argo 414 420-2. Produced in 1986.
From "Audio" August 1987:
"Do you have a new subwoofer you want to test for low-frequency
power handling? Look no further. This CD of Mendelssohn organ
sonatas (nos. 2, 3, and 6) and preludes and fugues (Nos. 1, 2, 3)
is of truly awesome sonority.
"Peter Hurford gives us a near-definitive performance of these
ingratiating organ works while showing his mastery of the great
Rieger organ in Germany's Ratzeburg Cathedral. This massive
instrument has a huge pedal division, with 32-foot principal
and contrabassoon stops which speak at 16 Hz. Decca engineer
Simon Eadon put special effort into recording the pedals. As
a consequence, there are thunderous pedal sounds throughout,
culminating in the allegro molto section of Sonata No. 6, where
the lowest D is recorded at a fundamental of 19 Hz, with
subharmonics below that!
"The cathedral has a comparatively short 3.5-S reverb period, so
all the pipes are reproduced with fine articulation. The organ
has some really brilliant reeds and a very lovely flute stop.
Everything is so clean and well defined that you can hear initial
"chiff" sounds from the pipes, much as they are heard on tracker-
action organs. Without question this is one of the best organ
recordings on Compact Disc.
-Bert Whyte
Triozzi
Here are a couple other recordings with good low bass
Alien 3 soundtrack- This album has very low sustained bass notes. Its
overall sound quility is quite good but its no audiophile recording.
Patriot Games- This album doesn't go as low but its bass is very well
recorded.
Triozzi
davelw2
Howdy :)
For a real bass treat, I recommend Jennifer Warne's "The Hunter" CD.
It is a pristine recording and has several track's (including "Rock
You Gently" and "Lights of Lousianne", among others) that exhibit
clean bass, including both string bass and electric. It is an
excellent recording that shows off the rich female voice of Jennifer
to great effect.
Highly recommended (providing your system has true deep bass
capability.)
DaveW
John Kodis
In article <4mlbqo$o...@biosun.harvard.edu>, Dana Harmer <d...@bridge.net> wrote:
From "Audio" August 1987:
>
> [...], there are thunderous pedal sounds throughout,
> culminating in the allegro molto section of Sonata No. 6, where
> the lowest D is recorded at a fundamental of 19 Hz, with
> subharmonics below that!
^^^^^^^^^^^^
I've seen references to subharmonics crop up before. However,
although I've studied a bit about music and a bit about Fourier and
related transforms, I don't recall any mention of subharmonics in
these more formal studies.
Is there such a thing as a subharmonic? How do they arise? Or is
this just another situation like the infamous "fast bass", where a
term gets widely used in spite of it's not being the most precise way
to phrase an idea?
BTW, I don't mean to shoot the messenger here, Bert and/or Dana. I
know that you were just quoting Audio.
-- John Kodis.
John Heisch
Try almost anything by the Yellowjackets, the jazz(rock) group. While
the bass does not go extremely low (to 20 hz on a couple), it is warm
and cleanly recorded. The albums have pretty nice sound on them
overall.
John Heisch
John J. Stimson
In article <4mnnd6$h...@tolstoy.lerc.nasa.gov>,
> ^^^^^^^^^^^^
>I've seen references to subharmonics crop up before. However,
>although I've studied a bit about music and a bit about Fourier and
>related transforms, I don't recall any mention of subharmonics in
>these more formal studies.
The reason it isn't mentioned with respect to linear transformations
is that subharmonics are a nonlinear effect (actually they are beyond
nonlinear, they crop up on the way to chaos). I can't tell you why
it's not mentioned in relation to music; perhaps it just doesn't show
up very well in musical instruments.
>Is there such a thing as a subharmonic? How do they arise? Or is
>this just another situation like the infamous "fast bass", where a
>term gets widely used in spite of it's not being the most precise way
>to phrase an idea?
Yes, there is such a thing. They arise in chaos when an orbit becomes
unstable and splits into two similar, connected, orbits. The motion
is then repeated only every two times around rather than just once
around. The result when you look at a frequency spectrum is that a
component has been added at half the original frequency (double the
period).
There are some researchers at UIUC who are (or at least were) working
on the use of a chaotic circuit originally developed by Chua as the
oscillator for more natural-sounding synthesizers -- to sound more
like a real physical instrument. Chua's circuit shows strong
period-doubling of its basic waveform even when it is in a chaotic
regime. Perhaps real instruments do exhibit period-doubling, and this
is part of why the folks at UIUC are looking at Chua's circuit for a
more realistic synthesizer sound. Of course, there could be all sorts
of other reasons as well.
Back when I was running computer simulations on Chua's circuit, I
tried pretty hard to figure out how to play the output through a
friend's sound card. Unfortunately I didn't know too much about
computer sound back then. Now that I do, I would have to write a new
circuit simulator...I'm sure it would be an interesting thing to
experiment with, it's too bad I'm a grad student now.
John Stimson
http://harlie.ee.cornell.edu/~john
Colin Miller
On 7 May 1996 10:40:38 -0400, ko...@access.digex.net (John Kodis)
wrote:
^^^^^^^^^^^^
>
>I've seen references to subharmonics crop up before. However,
>although I've studied a bit about music and a bit about Fourier and
>related transforms, I don't recall any mention of subharmonics in
>these more formal studies.
>
>this just another situation like the infamous "fast bass", where a
>term gets widely used in spite of it's not being the most precise way
>to phrase an idea?
>
>know that you were just quoting Audio.
>
>-- John Kodis.
I've had sub-harmonics mentioned to me, but I've never read any
documentation on it. I wouldn't believe in them, except somebody
showed me on a spectrum analyzer a clap, which had a peak frequency
and harmonics on both sides. Maybe the peak wasn't the fundamental,
or there were multiple fundamentals from different parts of his hand
vibrating. Whatever it was it was pretty messy. Didn't look at all
like the graphs you see in magazines. There was even low bass showing
up.
I don't know
colin
Beakman
AudioMaven (audio...@aol.com) wrote:
: <<A couple great demo disks for female vocals are the Cowboy Junkies
: "Trinity Session" and Kathleen Battle's "Pleasures of Their Company".
: There's one acapella (?) track on the Battle disk in particular - I
: forget the title but I think it's track 7 or 8 - that can induce
: electronics to clip where said electronics might do fine on seemingly
: more "demanding" material like rock. It's a good test to see how
: demanding the speakers can be of the electronics.>>
"Pleasures of Their Company" is now out of print.
: In addition to the previous listed discs, I'd like to add the
: following CD for female vocals: Sara Mclaughlin: Freedom Sessions. A
: very real, live acoustic recording that lacks the sibilance of her
: earlier album. One qualifier - it's a CD-ROM and some Phillips based
: transports won't recognize the disc and play it.
That's "McLachlan".
David
--
______________________________________________________________________________
David Fokos Platinum/Palladium Photography & Workshops
bea...@netcom.com
______________________________________________________________________________
William Gode
In article <4mnnd6$h...@tolstoy.lerc.nasa.gov> ko...@access.digex.net (John Kodis) writes:
^^^^^^^^^^^^
>I've seen references to subharmonics crop up before. However,
>although I've studied a bit about music and a bit about Fourier and
>related transforms, I don't recall any mention of subharmonics in
>these more formal studies.
>Is there such a thing as a subharmonic? How do they arise? Or is
>this just another situation like the infamous "fast bass", where a
>term gets widely used in spite of it's not being the most precise way
>to phrase an idea?
>BTW, I don't mean to shoot the messenger here, Bert and/or Dana. I
>know that you were just quoting Audio.
I don't know about sub-harmonics, but you can certainly hear very low
bass from a symphony orchestra due to "Tartini's Tones." The Italian
composer Giuseppe Tartini (1692-1770) discovered the "difference tone"
(also known as the "combination tone"). This results in a third note
(difference note) that can be heard when two notes are played steadily
and with intensity. Depending on the difference, Tartini's Tones can
be *very* low (and quite exciting to experience).
---Bill Gode
BSirius
In article <4mng57$3...@biosun.harvard.edu>, davelw2
<dav...@ix.netcom.com> writes:
>For a real bass treat, I recommend Jennifer Warne's "The Hunter" CD.
And don't leave out the cut that has a tremendous bass sound... "Way Down
Deep" - an appropriate title, I think.
Great CD!! I enjoy repeated listenings of "The Hunter" even more so than
her highly regarded Blue Raincoat(?) CD. (don't remember the exact title
of that one).
Regards...
Bill (BSi...@aol.com)
Overland Park, Kansas
Martin Leese - OMG
On 7 May 1996 10:40:38 -0400 John Kodis (ko...@access.digex.net) wrote:
...
>> Is there such a thing as a subharmonic? How do they arise? Or is
>> this just another situation like the infamous "fast bass", where a
>> term gets widely used in spite of it's not being the most precise way
>> to phrase an idea?
When I first read this, and the extract from Audio that gave rise to
it, I assumed that what was being heard was simply beat frequencies.
Is this simple explanation likely?
Regards,
Martin
E-mail: mle...@omg.unb.ca
WWW: http://www.omg.unb.ca/~mleese/
______________________________________________________________________
Want to know how Ambisonics can improve the sound of your LPs and CDs?
Read the Ambisonic Surround Sound FAQ. Version 2.6 now on my WWW page.
Larry Stein
>In addition to the previous listed discs, I'd like to add the
>following CD for female vocals: Sara Mclaughlin: Freedom Sessions. A
>very real, live acoustic recording that lacks the sibilance of her
>earlier album. One qualifier - it's a CD-ROM and some Phillips based
>transports won't recognize the disc and play it.
This is a good one. Nice live in the studio recording.
My favorite is Ana Caram, a brazillian singer. Try Rio After Dark on
Chesky Records. There are a couple of really nice tracks on that one.
--
Larry Stein
lst...@ablecom.net
Marc.A.P...@cl.msu.edu
Good BASS...
1. Meat Beat Manifesto -99% and Satyricon
2. Duran Duran
3. Front 242 (350 watts a side pumping into 2 Cerwin Vega AT 15s
will move your hair and make the pictures on the wall fall off)
4. Bass Mechanic
yea, I know.....
5. Depeche Mode
x95...@wmich.edu
In article <4mvo5u$8...@eyrie.graphics.cornell.edu>,
Marc.A.P...@cl.msu.edu writes:
> 2. Duran Duran
[ quoted text deleted -- jwd ]
in DURAN DURAN .. TRY THE ALBULM CALLED 'THANK YOU' TITLE :- "911 IS A
JOKE"
Also.. you might want to try those BASS CD's..( those which say : not
suitable for wimpy speakers..)
Frank Z. Chang
In article <4n057d$8...@eyrie.graphics.cornell.edu> x95...@wmich.edu writes:
>Also.. you might want to try those BASS CD's..( those which say : not
>suitable for wimpy speakers..)
I'm sorry, but those "Bass" CD's are ridiculous. I know, I bought one
to check it out and have heard a few others. They are just for sheer
window shaking power. The bass from those CD's is not well defined or
solid at all.
The only thing they are good for is putting in a car with a few
subwoofers and driving down the street drawing attention to yourself.
Not classy in the slightest...and certainly not anything to be played
on a high-end system.
--
___ __o Frank Z. Chang Audio Enthusiast
___ _ \<_ Princeton University MTB Weekend Warrior
___ (_)/(_) Computer Science Dept. F2 Shooter
Michael Wong
In article <4mqhl5$g...@tolstoy.lerc.nasa.gov>, co...@iofr.comW says...
>I've had sub-harmonics mentioned to me, but I've never read any
>documentation on it. I wouldn't believe in them, except somebody
>showed me on a spectrum analyzer a clap, which had a peak frequency
>and harmonics on both sides. Maybe the peak wasn't the fundamental,
>or there were multiple fundamentals from different parts of his hand
>vibrating. Whatever it was it was pretty messy. Didn't look at all
>like the graphs you see in magazines. There was even low bass showing
>up.
That's not a subharmonic (there is no such thing). Harmonics and
these imaginary subharmonics are created from energy at another
frequency, ie- you create a 40Hz sine wave and you will get an 80Hz
harmonic. When you simply clap your hands (or blow something up, or
slam a drum) you get a hodge-podge of frequencies resulting from the
initial action you took (your hand clapping), but the lower
frequencies in that hodge-podge aren't created by the higher
frequencies; they are just a result of the crap noise that is
generated by your hand clapping. Actions like hand claps, explosions,
even drum beats, create a complex mix of frequencies all by
themselves, with no assistance from harmonics or fictional
sub-harmonics.
If, on the other hand, you use a signal generator into an amplifier
and speaker to create a clear 1000Hz vibration, you will get harmonics
at 2kHz, 4kHz, etc.
But you won't get a 500Hz "sub-harmonic". At least, not in the
limited experience that I had in school with wave physics.
Admittedly, I'm not a doctorate expert in the field, but that's what I
was taught in university.
Richard D Pierce
In article <4n21v9$j...@biosun.harvard.edu>,
Michael Wong <74467...@compuserve.com> wrote:
>In article <4mqhl5$g...@tolstoy.lerc.nasa.gov>, co...@iofr.comW says...
>>I've had sub-harmonics mentioned to me, but I've never read any
>>documentation on it. I wouldn't believe in them, except somebody
>>showed me on a spectrum analyzer a clap, which had a peak frequency
>>and harmonics on both sides. Maybe the peak wasn't the fundamental,
>>or there were multiple fundamentals from different parts of his hand
>>vibrating. Whatever it was it was pretty messy. Didn't look at all
>>like the graphs you see in magazines. There was even low bass showing
>>up.
>
>and speaker to create a clear 1000Hz vibration, you will get harmonics
>at 2kHz, 4kHz, etc.
Not if the stimulus is a sine wave AND the systems are linear you
won't.
>But you won't get a 500Hz "sub-harmonic". At least, not in the
>limited experience that I had in school with wave physics.
Well, if you take a perfectly clean 1 kHz sine wave and a perfectly
clean 1.5 kHz sine wave and mix them through a system that's
non-linear, you WILL get sum and difference tones, for example 1.5 kHz
- 1 kHz = 0.5 kHz (500 Hz), also 1.5 kHz + 1 kHz = 2.5 kHz, which is
NOT harmonically related to either 1 or 1.5 kHz.
Yes, difference tones can show up due to non-linearities of the system
(and that includes the ear, and is the source of the phantom 5th voice
in well-done barber shop quartets, the "pseudo" 32 foot stops called
"resultants" in some pipe organs, etc), but THEY ARE NOT
SUB-HARMONICS.
--
| Dick Pierce |
| Loudspeaker and Software Consulting |
| 17 Sartelle Street Pepperell, MA 01463 |
| (508) 433-9183 (Voice and FAX) |
KCdgw
The vinyl version of The Moody Blues's A QUESTION OF BALANCE has some
glorious, rich bass, especially on the song 'Question'. Haven't heard
the CD.
Cheers,
KC
Those who know the truth are not equal to those who love it - Confucius.
ILUVPGH
For an excellent recording with bass try Flight of the Cosmic Hippo
(track you want is the same title) by Bela Fleck.
Mark Brough
Good 'ole Eagles "Hell Freezes Over" is pretty good - esp. the
ubiquitous "Hotel California". Despite being a live recording, the
quality of the recording is very good.
The bass musical content is quite simple, unlike, say, a good
recording of Holst's Planet Suite, where it is not easy to distinguish
the different characteristics of the bass.
On "Hell Freezes over" you can hear if the system has extended bass,
and how tight the bass is - from the way the notes decay. Also the
musicality of the bass - is it just a thump or is there some tonality.
Also try out Bjork's "Debut" album.
Rennco 3
Also try: HDCD Sampler II (Reference Recordings), Star Tracks II
(Telarc) -- on Star Tracks II, check out "The Planet Krypton", "Star
Trek-Klingon Battle", and "The Right Stuff" -- all the above have
synthesizer generated 25 Hz and below tones -- you feel it, but don't
hear it !!
-Rennco 3...@AOL.com
Gary Wolfe
fzc...@tucson.Princeton.EDU (Frank Z. Chang) wrote:
[...re:bass CDs...]
>window shaking power. The bass from those CD's is not well defined or
>solid at all.
>The only thing they are good for is putting in a car with a few
>subwoofers and driving down the street drawing attention to yourself.
>Not classy in the slightest...and certainly not anything to be played
>on a high-end system.
[...]
If someone is looking for very heavy bass, but something not quite as
blatant, try some of the techno groups, such as Leftfield or Moby. I
might go so far as to say that a high-end system will do a far better
job of playing some of the extreme bass hits than a typical stereo
(car or home). Wonderful stuff, if you like techno, but not "classy"
I suppose!
I found Leftfield to have somewhat of a reggae beat mixed in with the
sythesized sound typical of techno. I happen to enjoy electronic
music a lot, and this group in particular does a great job of keeping
the rhythm going. It's the best of the genre that I've run across --
not that I'm an expert by any means, just my opinion. If it matters,
I haven't tried any of the "bass CDs", as, from what little I've
heard, they are less likely to fit my tastes.
--
Gary Wolfe "Everything is wrong" -- Moby
t...@ix.netcom.com
Mike Ford
Just to be annoying I will mention one of my favorite LPs for bass,
despite the fact I bet NOBODY will ever find a copy. A couple years
after Ringo Starr's album with the song "16" on it was released, David
Henshel made an instrumental cover of it called Startling Music.
Excellent Fender bass and keyboards work, and one of those LP I am
dying to see on CD and doubt I ever will. It begs to be played loud,
and brought many a high end system to its knees in the attempt.
Jerry Del Colliano
In article <4mldqf$f...@agate.berkeley.edu>, John Yow
<jy...@HK.Super.NET> wrote:
dear john,
check out lori liberman's "thousand dreams" and "house of whispers" on
pope music. My former boss and friend Joe Cali produced them with a
two mic Cello recording system invented by Mark Levinson. The reocrds
were recorded at A&M studio's (i was lucky enough to be there) and
were mastered on the Cello reference system. If you like folky, singer
songwriter material you will love these recordings.
you can buy them at the Cello LA showroom 310.273.2203 if you are
interested or at any good CD retailer.
also try ricky lee jones "pop-pop"
best of luck,
Jerry Del Colliano
http://www.audiorevlution.com coming in late may
Colin, that guy.
On 10 May 1996 15:25:33 -0400, x95...@wmich.edu wrote:
>In article <4mvo5u$8...@eyrie.graphics.cornell.edu>,
> Marc.A.P...@cl.msu.edu writes:
>
>> 2. Duran Duran
>
>[ quoted text deleted -- jwd ]
>
>in DURAN DURAN .. TRY THE ALBULM CALLED 'THANK YOU' TITLE :- "911 IS A
>JOKE"
>
>Also.. you might want to try those BASS CD's..( those which say : not
>suitable for wimpy speakers..)
You might consider trying, if you don't already have it, David Bowie's
Black Tie White Noise album. The first two tracks especially, but
lots of other one's too. Assuming significant low frequency
extension, the bass is on the beastly side, but not boomy, muddy, or
otherwise unclear, just beastly. It doesn't screw up the midrange or
treble, and although the soundstage doesn't represent anything
accurate, it's just one of those fastasy fun listen in the dark
experiences. Superneat synthesizer sounds on the second track that
remind me of something else, but I can't remember what. If anybody
knows what I mean, please let me know.
colin
uh.......OH!
On 22 Apr 1996 17:50:32 -0400, accut...@aol.com (Accutronix) wrote:
Bunch of stuff and then.
>Tori Amos "????????" (I forgot the name, it's her latest one)
>Really cool sounding piano and harpsicord. Bass is a little wierd,
>but not bad for a pop recording. Her voice is a little piercing, but
>I think that's the way her voice is. Her lyrics of course are always
>piercing.
I absolutely love what this woman does with a piano. Her voice,
yummy. In my opinion, besides being a little brash on some sounds and
sharp on the sibilants, it's an allright adventure. It's been growing
on me more and more. It made me go, what the, wait, hmm, etc. Better
and better. The recording isn't my favorite style, I prefer it a
little more relaxed. It's nowhere near as rough as Alanis
Morrisette's jagged little pill, which although appropriate, grinds on
you. Thank God for tubes and their place in my ears. Well, not
really in my ears, more in my mind, all the time, as the visual
partners of auditory daydreams. Plant those lightning seeds.
colin
Karl Chwe
>AudioMaven (audio...@aol.com) wrote:
>: In addition to the previous listed discs, I'd like to add the
>: following CD for female vocals: Sara Mclaughlin: Freedom Sessions. A
>: very real, live acoustic recording that lacks the sibilance of her
>: earlier album. One qualifier - it's a CD-ROM and some Phillips
>: based transports won't recognize the disc and play it.
Actually, only the first track is in cd-rom (Quicktime, specifically)
format. _All_ audio cd players and transports will not recognize
it. All aucio cd players and transports will read the other 8 tracks,
barring damage to the disk.
But yes, its a lovely album. All but one of the songs were previously
released in _Fumbling Towards Ecstacy_, and they are generally less
produced, more acoustic, or just different from the _Fumbling_
versions. Some of the performances have quirks (the heavily distorted
guitar on Ice, for ex.), but all in all I much prefer them to the
Fumbling_ versions. My only real quibble is that the playing time is
too short, only about 30 minutes, since the multimedia presentation
track takes up about 20 minutes of the disk. I wonder if it is worth
it; I haven't seen it myself.
Karl
Rev. Kendall M. Cox
> Marc.A.P...@cl.msu.edu writes:
>
>Also.. you might want to try those BASS CD's..( those which say : not
>suitable for wimpy speakers..)
Ever since I added a Velodyne F-1000 to my living room, I've become
a bass critic. The CD in question is the music you always hear Boom
Cars cruising around to. Not something you'd want to sit down and
listen to. (Of course, now I have a boom _house_...)
I much prefer Herbie Hancock's "Dis Is Da Drum", a jazz synthesis
type record with tons of interesting bass. The Boom Car CD's have one
bass note that they repeat constantly, but Herbie plays around with
just about everything, and it's much more entertaining.
Also, check out any recent Nine Inch Nails studio album. The best
bargian is "Further Down the Spiral"- it's the newest, it's over an
hour, and yet it's an EP so you can get it cheap.
Chris Kantack
On the "symphonic side" of things Delos has a number of good CD's with
plenty of bass. Fanfare for the Common Man (DE 3140) comes to mind.
Also I just completed dubbing the Star Wars Trilogy Anthology (4
CD's). Excellent bass. Especially many of the selections from the
"Return of the Jedi" soundtrack.
I have the vinyl versions of the same Star Wars soundtracks and
believe me, there is no comparison. The CD versions have better bass,
better dynamics, superior separation, and no pops/clicks. I'm
convinced that CD's are far superior to anything the LP can muster.
Though I often listen to both formats, they'll be no more LP purchases
for me. (On any new material.)
Chris Kantack