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Originally Posted by cws5 /img/forum/go_quote.gif
And the midrange is where most of the magic lies in classical music. The controlled low end is important for listening to genres other than classical. Rock enthusiasts don't want to listen to an unauthoritative bass drum sound that is blurred. They want it crisp. But for classical music, which has no repetitive bass beat, this isn't a problem and is often a plus even for the low end, which will sound full.
To play devil's advocate, I'd argue that you couldn't be more incorrect regarding authoritative bass and classical. In fact I'd argue that a solid low-end is the crux of what makes the difference between added realism and not, in classical
especially. You owe the cellists, bassists, timpanists, and kettle drummers of the world a big apology for your statements
I agree the midrange is where a lot of the magic lies, but that solid low-end, venue dependent of course, provided by the chorus of bass, cello and drum can go quite low, and adds a lot of the meat to classical. It's that visceral impact that makes Holst. It's the low rumble that makes that hauntingly heavy sound of Berlioz, and the careful low-reaching melodic bass runs are what make Tchaikovsky. The impact of the bass notes are what adds the grip to any cello sonata. And yes, in person, these instruments all can have quite the rumble.
Now, to come back to your side for a moment, I also agree, there are two ways to hear classical, both in speakers and in person and it varies by orchestra and concert hall. I love the sound of my K702 for example with classical. That even and neutral tone is fantastic. HD600 is in a similar mode. It's that light, airy, non-bass-laiden detailed sound of an orchestra up close.
However I've recently learned to appreciate, even more, the sound of my new HE-400's for classical. The mids are neutral, highly detailed, and the pushed, clean bass gives that authentic emotional pull of the darker instruments in a cavernous hall from up in the balconies. Both are valid, but bass impact, if accompanied by detail and texture, is no less critical, if not more critical for classical if you're not going for the up-close sound.
That doesn't involve amplifiers at all. But it's a useful item to consider for classical since you mentioned it. And no, I'm not ragging on you
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What it really comes down to with all this is do you want to listen to your music or do you want to listen to your amp?
Are you into high fidelity audio or are you into the sound of whatever gear you happen to fancy/own?
Does classical music (or really any music) need to be altered to sound better?
Am I the only one that thinks it's ridiculous to covet amps that can't faithfully reproduce the sound they're fed?
An argument I often make is that when you hear live music the venue itself alters and colors the sound in much the same way as colored playback equipment. The tone of the same orchestra will be completely different in their native hall, a guest hall, an outdoor ampitheater, and again at front row, mid seating, or balcony seating. I don't see sound coloration as "altering the recorded sound" so much as "choosing the venue and seats in which I want to hear them play."
