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In the Forum: Playback Listening
In the Thread: The dynamic range of our playback

Post Subject: Air fencingPosted by steverino on: 6/28/2014

I never equated transient information with microdynamics nor did I say it was articulation. Microdynamics is not simply piano and macrodynamics is not forte. Transient (onset) noises are what give different instruments their timbral character. Of course they are audible to the extent the instrument is audible and can be loud or soft. The composer indicates such articulations as seem important to him/her and then the performer adds such others as they find "musical". Microdynamics is an audiophile term not a musical term is my point. They are an artifact of close mic'ing. I caveated my comments by saying that musicians are probably the only ones aware of micro and macrodynamics. If you read the audiophile press they constantly marvel at hearing an intake of breath or myriad little shifts of the drum stick on the skin etc. The composer cannot assume that these kinds of noises or sounds will be audible or even performed unless they specifically notate it. Once they notate it the performer is expected to incorporate it into their musical performance, in other words make it macro and convey it to an audience. The exception is limited to performers in a small space with the listener or, I guess, heavy amplification which would pick up the noises and tiny little "microdynamic" shifts and sounds and make them audible at a distance. But of course such amplification is in principle no different that a recording with close mic'ing.

As for the preamp, realistically 70db is a very large dynamic shift for most music as you note. A preamp that could do 70db perfectly would be much superior IMO to one that did 90db in mediocre fashion.

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