[bigshot]

The piano tuner may have left his tuning fork behind in the piano when he finished.

 

[markito331]

The piano tuner may have left his tuning fork behind in the piano when he finished.

Have you heard the recordings?

 

[bigshot]

No, if it's just a particular recording, I'd just pick another recording. I was only interested if it was caused by the player.

 

[Steve999]

i was talking about an specific recording, , another example is .

In the uchida the ringing is minimum. In the andsnes's is obscene.

I found both recordings on Spotify and listened to them a little bit. I'll work listening to them in my leisure time. If you have particular times and tracks where the ringing is really prominent that might be helpful.

I think @gregorio would be a great deal more insightful about the characteristics of the recording and how that might relate to what you are hearing.

 

[markito331]

I found both recordings on Spotify and listened to them a little bit. I'll work listening to them in my leisure time. If you have particular times and tracks where the ringing is really prominent that might be helpful.

I think @gregorio would be a great deal more insightful about the characteristics of the recording and how that might relate to what you are hearing.

I listened to the uchida op 111 in youtube and couldn't hear the ringing .

I heard the ringing in the op 109 mostly, through TIDAL.

You don't need particular track timers, it's there all around, just listen a bit.

 

[bigshot]

You're mixing too many formats there to know what the hell is going on. Is the ringing on the commercial CD? Forget all the lossy versions. Figure out if it's part of the master before you start juggling formats.

 

[Steve999]

I listened to the uchida op 111 in youtube and couldn't hear the ringing .

I heard the ringing in the op 109 mostly, through TIDAL.

You don't need particular track timers, it's there all around, just listen a bit.

Well I'm way out of my league here but what I hear first of all on Spotify in Op. 30 (no. 109) of the Uchida is that she will go very long stretches without letting the piano stop resonating, probably by the way she uses the sustain pedal to let phrases end and linger to past when the the next phrase begins. Once in a great while she will quiet the piano completely for a pause and you will really notice that by contrast. So it seems like she is letting some very dissonant notes continue to sustain together and it sounds to me like the harmonics and resonances with something like that can be all over the place with something as complex as a piano. Try for example 9:00-10:35 of the third movement. I also listened to a couple of other recordings briefly and it sounded like I was closer to the piano on those. Here it sounded like I was a little further back so there was more of an emphasis on the sound as it would be further away from the piano than if I were sitting nearer the pianist. So I didn't hear any ringing per se or anything I would find objectionable or notice if I were listening to this recording in isolation but those were contrasts I thought I heard as compared to other performances and recordings that I listened to briefly.

For what sounds to me like a huge contrast in the other direction in both recording and performer you could listen to the Maurizio Pollini recording of Op. 30 at the beginning of disc two of the Deutsche Grammaphon discs entitiled "Beethoven: The Late Piano Sonatas."

 

[TheSonicTruth]

You're mixing too many formats there to know what the hell is going on. Is the ringing on the commercial CD? Forget all the lossy versions. Figure out if it's part of the master before you start juggling formats.

Y'know Bigs: We agree on more audio matters(IE: above) than we might realize! It's just a shame we draw the line at loudness and 'remastering'. lol!

 

[gregorio]

[1] I didn't mean to be rude when i said "huge mistake", i meant how could a noob like me find a "mistake" and some engineers from two of the most praised labels did not .
I don't think there is much of my fault, talking volume-wise, since classical music is recorded very quietly and i don't have a powerful amp for my headphones .
[2] I listened to the uchida op 111 in youtube and couldn't hear the ringing . I heard the ringing in the op 109 mostly, through TIDAL.

1. A high volume level is just one of several potential reasons why a consumer might notice something the engineers did not (or judged it to be inconsequential), another could be the colouration/EQ of your system. For example, if your system (player, transducers, room acoustics, etc.) has an EQ boost (or loss) in a particular region or regions, that could highlight something that may have been inaudible (or barely audible and judged inconsequential) to the engineers. Typically during mixing but particularly in the mastering phase, the mix is checked on a variety of playback equipment and at different playback volumes but it's not uncommon for a consumer system to fall outside these bounds and emphasise something the engineers didn't notice or discounted. And incidentally, this can be just as common an issue with higher end audiophile systems as it is with relatively cheap mass market systems.

2. I didn't hear anything too untoward in the youtube version, although there were some unintended extraneous noises; musician movement and breaths, as well as the occasional mechanical noise, which were a consequence of the mic'ing scheme used. I've worked with Mitsuko myself (over 20 years ago) and she can be one of the most delicate and subtle of pianists, which can present a recording challenge and necessitate sensitive close mic'ing. There are still a range of possibilities for what you have heard, including something that Tidal has done.

G

 

[RRod]

I have the Andsnes Grieg CD. It was made on Grieg's own piano, if I recall. Any specific track/time that OP finds especially bad? This disc has my favorite version of Homesickness, so I'm loathe to dig into hating the sound ^_^

 

[Steve999]

I listened to both recordings on Spotify this morning on my nicest stereo (which isn’t saying much, but it’s more than good enough for me) and really enjoyed them. At this point if you (OP) remain curious it might be best to order one or both CDs as @bigshot suggested so you have the baseline CD recording to work with. They are just normal CD prices on Amazon in the U.S. Uchida seems to go into a jazz swing thing on Op. 111, movement 2, from 6:36 to 8:40!

 

[markito331]

I listened to both recordings on Spotify this morning on my nicest stereo (which isn’t saying much, but it’s more than good enough for me) and really enjoyed them. At this point if you (OP) remain curious it might be best to order one or both CDs as @bigshot suggested so you have the baseline CD recording to work with. They are just normal CD prices on Amazon in the U.S. Uchida seems to go into a jazz swing thing on Op. 111, movement 2, from 6:36 to 8:40!

i'm from Argentina lol .

I have the Andsnes Grieg CD. It was made on Grieg's own piano, if I recall. Any specific track/time that OP finds especially bad? This disc has my favorite version of Homesickness, so I'm loathe to dig into hating the sound ^_^

yeah it was, in his own piano in his own house.

1. A high volume level is just one of several potential reasons why a consumer might notice something the engineers did not (or judged it to be inconsequential), another could be the colouration/EQ of your system. For example, if your system (player, transducers, room acoustics, etc.) has an EQ boost (or loss) in a particular region or regions, that could highlight something that may have been inaudible (or barely audible and judged inconsequential) to the engineers. Typically during mixing but particularly in the mastering phase, the mix is checked on a variety of playback equipment and at different playback volumes but it's not uncommon for a consumer system to fall outside these bounds and emphasise something the engineers didn't notice or discounted. And incidentally, this can be just as common an issue with higher end audiophile systems as it is with relatively cheap mass market systems.

2. I didn't hear anything too untoward in the youtube version, although there were some unintended extraneous noises; musician movement and breaths, as well as the occasional mechanical noise, which were a consequence of the mic'ing scheme used. I've worked with Mitsuko myself (over 20 years ago) and she can be one of the most delicate and subtle of pianists, which can present a recording challenge and necessitate sensitive close mic'ing. There are still a range of possibilities for what you have heard, including something that Tidal has done.

G

hats off to you.

 

[aukhawk]

agreed, but how could DECCA make such a huge mistake? that's why i think it's a matter of taste. think uchida late beethoven sonatas 2006 recording, it has ringing.

This is beside the point but those Uchida recordings were made by PHILIPS. (Decca have subsequently taken over the Philips catalogue and rebadged them.) I'm tempted to add - you can see from the cover art that SHE can hear it!

I often hear a (very slight) buzzing or clangourous sound on solo piano recordings, at one specific note, and it does sometimes get annoying but strangely I have no curiosity about the phenomenon or desire to track it down. If I did, I would:
1. Be sure I was listening to the original CD or lossless file.
2. Check for elementary things like small ornaments in the room (or even standing on the loudspeaker!!) resonating.
3. Listen on my good speakers and on my 3 pairs of good headphones, to see if it was always present. If it is, it's probably the source, or my ears.
4. Mono the sound, then ascertain if the effect is on both channels or just one.
4b if just one, reverse the channels to see if the sound moves to the other channel. If it does, it's the source. If not, it's the playback at fault.
5. Ascertain the frequency of the piano note being played that causes this. Is it in the crossover frequency range of the loudspeaker?

In my own case, without having done any of the above (I prefer to just listen to the music) - I suspect it is mainly a problem with my loudspeaker crossover frequency (badly placed around 4kHz) in combination with metal coned tweeters which can get a tad fierce. (B&W floor-standing speakers) Maybe my ears also contribute at the same frequency. Maybe some recording mic placements also contribute, if the 'problem' note happens to be on-axis for one mic. The three things in combination might bring it on.

 

[ev13wt]

Can't hear it, but the Grieg: is recorded in a way that my tinnitus fades in and out. It certainly hits some weird modes in my room and in my ear. A sort of tremelo that shouldn't be there making it sound ringy or muddy?

 

[ev13wt]

Read the whole thread. Weird stuff, this digital watermarking!