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Paul S wrote:

Andy, when I said I am not set up to exploit internet "music", I meant just that; I cannot and therefore did not run your samples through my main payback system, although even that might or might not have done justice to your samples according to your own sense of end-to-end equalibrium/continuity, at least based on your response.  Actually, I just listened with what I had and gave you my immediate impressions, which were as I said.  By "harmonics", I mean that notes played by instruments have characteristic tonal/timbral signatures that include both a primary frequency and also various attendent "rider" frequencies that vary considerably in amplitude.  For whatever reason (perhaps my limited playback capabilities), I found the samples somewhat "stripped" or "bleached" of these harmonics as I recognized them live.  As far as "expression", this is hard to describe in binary code, but I'll try to slide one in by saying it is the varibles in sound worked by the performer him/herself, like timing and inflection, which we percieve both consciously and unconsciously in music, just as in speech.  Again, the computer system is lacking, but I can usually get expression in the truck, from my clock radio, etc.  Whether any of what I did/didn't perceive has anything to do with microphones, I have no idea, nor do I presume to so much as hazard a guess in that direction.  I saw your query and answered off the cuff, taking the sound at face value, so my remarks were "detached" from considerations other than just what I did/didn't hear from the samples, whatever the reasons. Hence the question you include in your header. I am perfectly willing to accept that my playback is poor enough to make the absence of the cited-as-absent traits mea culpa. I do find your observations about the "sacred" microphones very interesting, however.  I have had a few chances to hear playback from tracks gotten via different "classic" microphones, and it was "instructive", to say the least. Best regards, Paul S

Hi Paul,

Perhaps I can send you a CD of the tracks in question? - the files linked above are CD format .WAV files if you can download & 'burn' to CD? Does your main system play CDs?

Regarding expression, harmonics (& or harmonic distortion) I do not doubt your observation for a second - nor question the validity.

However, if you can usually get 'expression' from recordings via the playback systems you mentioned, I would look to the recordings themselves.

For example, almost all recordings available today have severe distortion, which in most cases is to some extent intentional. Compression, for example, is routinely applied (for example, DG have hardly had a recording without compression EVER - I have this first hand from their chief engineer of 18 years).

The mastering industry is also routinely applying 'transparent limiting' to 'raise the level' by 'a few dB', for classical music.

Also, regarding expression & harmonics, would you expect to be able to have 'real performance' expression at anything less than real performance SPL?

At least according to equal loudness effects, I would expect not, but this is your term so perhaps I am wrong.

Regarding the 'classic' microphones, you need only look to the monitoring of those who describe the microphones as 'classic', and to their monitoring habits (low volume, often near-field) to begin to understand how the very distortions of the microphones are welcome 'compensation' for these monitoring habits.

Andy

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