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In Reply to: RE: Is soundstaging important? posted by PAR on April 19, 2016 at 22:10:34
So all the effort that goes into decisions on positioning of musicians in an orchestra have no impact on the presentation?
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Well, that's not really soundstaging in the sense used by audiophiles which is concerned with the 3Dness or aural solidity (for want of a better term) of the reproduceed experience.
Seating an orchestra has to do with balance ( both for the sound and/or for communication between sections) or for special effects called upon by the composer auch as antiphony.
Anyway the "soundstage has no musical significance" argument isn't mine, I am just referring to the points made by Art Dudley and Julian Vereker. In regard to orchestral seating etc. both support stereo but not the significance of soundstaging. The terms are not really interchangeable.
What is supposedly being reproduced? The "produced" experience. It is very much the soundstaging as audiophiles in the sense that audiophiles talk about it. It is the alleged goal of "accuracy" to accurately reproduced that which was originally produced.
Of course I don't think "accuracy" is what we want nor do I think an accurate illusion of an original soundstage would actually seem accurate. Soundstaging in live music is as much visual as it is aural and that has to be compensated for in recording and playback without the visual cues to tell us about the staging.
"Soundstaging in live music is as much visual as it is aural and that has to be compensated for in recording and playback without the visual cues to tell us about the staging. "
A good point and one that was, for example, behind the production techniques employed by John Culshaw in the classic Decca Solti Ring cycle. In opera the lack of visual clues for what is a theatric work is even more pronounced.
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