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In Reply to: RE: Well, I'm done posted by gkirkos on December 02, 2016 at 11:02:55
The strength of the tone is amazing live. I have never found it possible to really get it right. One could fudge a system to get just the Viola right, but everything else would be messed up.
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"One could fudge a system to get just the Viola right, but everything else would be messed up."
That doesn't even make sense. An audio recording system, and subsequent reproduction system, is either frequency and temporally good/right, or it's not.
I have optimized the sound to a well recorded trumpet, and everything gets a little better. Nothing gets messed up.
But you have to have a lot of experienc eon how the instrument actually sounds - rather than trying to make the instrument "sound good" you need to make it sounds like it does in life.
And it pays to be picky.
Or you will have a "messed up sound"
====
"We have met the enemy and he is us" - Pogo
Ha! Which model of trumpet?A Yamaha "Chicago"? A Getzen "Eterna"? A King "Silver Flair"? A Bach "Stradivarius"? A Jupiter XO 1600i (designed by my buddy Roger Ingram)?
Which mouthpiece? Which player? Which microphone? Etc.
Way back in 1974, I did a comparison of several well-known "studio" microphones. I'd have to go look at my notes to get the entire list, but a few of them were the Neumann KM84 and U87, the AKG C451, and a few others. Recorded at 15 ips 2-track on a modded (by Georges Quellet and John Curl) Stellavox Sp7.
They all sounded different from each other.
So, exactly WHICH trumpet/mouthpiece/player/microphone did you optimize your system for?
(BTW, I play trumpet, so I've got a bit of a handle on this.)
:)
Edits: 12/09/16 12/09/16
I agree. I used to play one. I won't buy a pair of speakers that can't reproduce strings with the proper resonance and body.
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