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Of course the pun was intended, Chris.

It's how I play the game.

Like so many other things in life, you won't know what you have with "behind" sound until you've lost it. You'll certainly notice its absence, for example, if you shut off the rear channels while playing a well-recorded four-or-five-channel disc with subtly-encoded (i.e., more or less natural) rear ambience. The same is true here if I alter the diffusive envelope by removing or simply changing the orientation of a few "behind" traps.

The Wild/Fiedler Gershwin RCA SACD three-to-two mixdown is a (one of several) case in point. The Mohr-Layton (Rhapsody, American in Paris) and Delheim-Salvatore (Concerto, Cuban Overture, I Got Rhythm Variations) productions differ from each other in their soundstage signatures (mike selection? placement? mixing decisions?), but in each instance they project "outward" to the extent that altering the diffusive envelope behind me (e.g., by orienting one or more traps to absorb head-on rather than randomly reflect the output) will collapse the presentation.

With this recording (and with the Francesca), it would be interesting to know what you'd hear if you moved your rear speakers completely out of the way. I'm not suggesting that you schlep them around, especially if they're hefty floor-standers, but in a previous incarnation I learned early on that dormant speakers behind the listening position--larger ones in particular--had a tendency to create a degree of suckout or otherwise affect what was heard from the listening chair.

More important than any of this, though: I'd like to see someone pick up the Everest ball and release some more of that fine catalog on SACD.

Cheers,


Jim
http://www.geocities.com/jimtranr/index.html


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  • Of course the pun was intended, Chris. - Jim Treanor 09:51:19 01/05/07 (0)


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