After my post: “how I came to the soul” I remembered a few points in the course of time that I forgot to mention.
Everyone has its special repertoire of music tracks to which you can test whether and how you like a device XY.
Among other things, this is a Fritz Reiner recording of Living Stereo: on the beautiful blue Danube.
The soul manages to make the concert hall vibrate and at the same time to present the enormous dynamic effortlessly without getting annoying.
I can’t put this vibration of the concert hall into words, but it’s a difference whether violins and celli are reproduced correctly (which in itself is a remarkable achievement of the sound engineer) or whether the air of the hall is acoustically stimulated and interacts with it.
Very hard to describe but a very big thing is that, almost scary.
I’m not even a big fan of classical music, but with the soul I noticed such musical details, which I knew only from hearsay.
The soul has always very cleanly under control, so passages that have previously generated a certain stress are audible
Because it sucks.
Keyword: Piccolo flute
Since then, the use of the same has always been a certain scourge: sharply and uncontrollably shoots (etches) the flute into the ear canal.
With the soul comes the crystal clear and striking but completely undistorted and bearable.
After several weeks I find that when the flute starts I still unconsciously pinch my eyes (out of habit)
what is now no longer necessary
I have therefore sometimes thought about what makes a person to play such a pfeeet pfeeet as a full-time job
As crazy as that sounds: because the soul does a lot of things and that so of course right some things are not so noticeable for the time being.
It has happened to me more often lately that I have completely forgotten the technique, it simply wasn’t there, just the music and me.
This is of course due to the great combination of Soul and Ether2, but it is also due to the seeming triviality, that Jan has installed very unobtrusive LED’s.
