Originally Posted by bigshot
Ha ha! Throw out all of your audio equipment!
Honestly, I think you're parading about a little too much here. I don't think you really believe any of this. But I will say this... You would have a MUCH better chance of bridging your gulf between live performance and recorded music if you understood some of the nuts and bolts of how music is reproduced. Magical thinking and flowery words don't make stereos sound better. Well thought out application of acoustic and sound reproduction principles do. That takes a bit of listening and an attempt to understand what's being said. You're smack dab in the middle of a lot of pretty knowledgeable folk here. All it takes is asking the right questions and not retreating to an argumentative stance that you have little chance of backing up with facts.
Well, in my anything but humble opinion I was being VERY modest. Considering the state of equipment that you can find in the studios - even the best ones.
Magic thinking and flowery words do not make stereos sound better - but well thought out application of solutions to the failings that dwell lurkingly in the pro gear, nicely and evenly distributed, from the microphone cartridge to the last speaker driver - does.
Trouble - there are so many and at first glance so well hidden most people are simply not aware of. Or worse - they can be aware of (at least some of them), but try to negate or downplay the importance of that failing - because they happen to be manufacturer/dealer of the offending component and would like to admit that the said component stands in the way of good sound the last thing in the world. And will try anything to supress the information about inadequacy of their equipment.
There is very little audio equipment capable of reproducing my latest recordings correctly - regardless of price. It was a great struggle to arrive at this position - it is similar if you give an inexperienced driver off the street to drive a Formula 1 car. The slightest touch on the pedal produces acceleration at which he/she will panic - and things will go from bad to worse from there on. Most audio equipment, home or pro gear, just can not produce sound with this kind of precision. There is nothing out there I would not consider upgrading/modifying before being accepted as a link in my recording chain.
It took a good friend, PhD in physics and professor at the university, tenor singer and who in the meantime became producer/mastering of most of choir recordings done by me , some 5 years to finally grasp what I am doing with equipment. And believe me, he and other singers of one of the very best male choirs in existance , Vokalna Akademija Ljubljana - VAL , led by maestro Stojan Kuret, did not find ever greater resolution of the recording chain to their liking at first; only grudgingly they accepted the fact that to sound good on resolution this high they need to practice even harder.
But we are all "crazy amateurs" - willing to go any number of extra miles, beyond what professionals can afford , in order to produce the best result we possibly can achieve - not to any "standard", but to push the envelope.
Here the excerpt from the very first concert ever given by VAL, recorded in 44.1/16 directly to CD-R in March 2009 : things are much *different* today :