What a long, strange trip it's been -- (Robert Hunter)
Sep 25, 2017 at 1:39 AM Post #4,816 of 14,377
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The "Magic Flute" is quite challenging in general, because of its length and convoluted plot. But when the production brings out a real sense of threat, magic, innocence, and hope, the time flies. Avant-garde distancing destroys that. I'm a fan of (some) avant-garde music, but I've never seen an avant-garde production of a classic that I cared for.
I once saw a Monteverdi Il Ritorno d'Ulysse in Patria as Ulysses coming back from Vietnam which thoroughly pissed me off. The adaptor deserved a sentence as a combat tour in Vietnam. And the agent orange to boot.
 
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Sep 25, 2017 at 11:31 PM Post #4,818 of 14,377

jacal01

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I wasn't feeling physically well so the experience was going to be poor regardless but this "1927-style" production was just weird to be weird.

You'd be surprised how much subjective mood determines the extent of your like or dislike of a given presentation. Extends to movies, events, etc., as well as music. There are no absolutes.
 
Sep 25, 2017 at 11:41 PM Post #4,819 of 14,377

jacal01

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I once saw a Monteverdi Il Ritorno d'Ulysse in Patria as Ulysses coming back from Vietnam which thoroughly pissed me off. The adaptor deserved a sentence as a combat tour in Vietnam. And the agent orange to boot.

Excellent Vietnam War series being presented on Public Broadcasting right now. However balanced, as an old vet, seeing Viet Cong and North Vietnam Regulars relating their personal experiences and perspectives is a bit surrealistic.
 
Sep 26, 2017 at 12:19 AM Post #4,820 of 14,377

bosiemoncrieff

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I once saw a Monteverdi Il Ritorno d'Ulysse in Patria as Ulysses coming back from Vietnam which thoroughly pissed me off. The adaptor deserved a sentence as a combat tour in Vietnam. And the agent orange to boot.

This will date me, but when I see that I think of the cocktail — but not the one on wikipedia! The one in Mittie Helmich's The Ultimate Bar Book. I don't recall its exact recipe (the book is in LA) but it has both grand marnier and cointreau, is vodka based, and must have some orange juice in it.

Saw a pretty tired production of Trav on Saturday. Violetta was wonderful but conductor and production sucked. Alfredo was ok. Ditto Germont.
 
Sep 27, 2017 at 5:46 AM Post #4,821 of 14,377
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Well, with the announcement and release of the new small Loki, we may have opened up an envelope of contention from "traditional" audiophiles. Jason covers that well in his Chapter today and presents a use case for them as remedial. Given the Loki is an analog one, I hope what I say will not be dismissed as patent cheerleading. After all, Jason and I have had quite a few discussions on the topic. In case you haven't guessed, I am a proponent of analog equalizers over digital ones as a remedial tool.

I would not consider a digital equalizer as a system remedy – the only exception to this would be in a system where minute amounts of correction need be applied. What do I mean by minute? Under five and a half decibels in a system with digital sources.. Why 5 and a half db? Most digital filters in common use have a minor amount (less than 0.5db) of attenuation to provide a bit of headroom in case some recording really goes right to the top (0 db). The filter attenuation plus the equalizer correction are additive. A digital clip presents a horrible, non-linear, potentially speaker or can damaging signal when backed up with sufficient amplifier power. The real world problem is that 5.5db is not enough to fix most speakers/rooms or cans. An attenuation greater than 6 db takes one bit of resolution, 12db two bits, 18db three bits, etc. Since most typical room problems are in a 20-30 range, and most can eq problems are only slightly less, the loss of 4-5 bits of resolution is quite feasible. Ugh. The huge advantage of the analog equalizer is that it absolutely takes NO resolution away from the signal. That is huge. The main disadvantage is that if the adjustment is large, such as a 20db boost, then the headroom of the downstream power amp may clip at higher levels. YMMV. Most Schiit amps have power.

The second problem with the application equalizers is to inform the user of the nature of the correction needed. True, there are speaker/room equalizer measurement devices that are accurate over most of the range of speakers/rooms. The published data of speakers is insufficient to judge how to correct the speaker without factoring in the room. There are room measuring devices which do not cost much more than the Loki, but I cannot speak to their quality. There are reviews of headphones which measure them, and in some cases data available which will give the user a good starting point to approximate an improved frquency domain performance. Ahem.. So much for the summary of serious work with equalizers. A challenge, but rewards come with with what you put in to the mix with your own research.

Now the real reason you want a Loki is that it is a major league trip toy. It will keep you up at night twiddling. It is a phuc ton of fun. Not suitable for the constipated types on the high floors of the audio shows with their stupid expensive systems and 10 songs total on their server. It does not have to be serious. It clearly produces audible changes. Nothing even there to annoy sound scientists. It is analog!! Glorious analog!!!

Digital equalizers SUCK. A to Ds in front, resolution loss in the middle, D to As on the ass end. Much finer control, yup, parametric, can be, much harder to use, yup, and even worse if you do not know What you are correcting. The more you adjust, the more you lose. Did I say, sound like ass?? Oh, and expensive to sound less like ass.

I'll take a Loki any day where I don't have to grit my teeth while I listen, I still have infinite settings to play with, and can improve things to the extent I do my homework. This is very different from the Gadget, which adjusts to one clear advantageous position on one pot which gives you the "ahhhs".

It is a fun device which is addictive like a video game but less serious. It is pure pleasure. Yeah, I know. I sound like a shill. I have had several to play with and I can't imagine a system without one. It even works if you listen to rap or electronic stuff. I wish I could take credit for designing it, and selling me on it for a Schiit product. Well done, Jason! An equalizer that doesn't sound like ass. Huuda thunk.
 
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Sep 27, 2017 at 6:35 AM Post #4,822 of 14,377

Charente

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Great explanation that makes sense to a non-techie ... could be life-changing for me ... fun to find out ! Must be very 'late' your end, thank-you !!
 
Sep 27, 2017 at 8:40 AM Post #4,823 of 14,377

Pietro Cozzi Tinin

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Could even make the Chicago Symphony Orchstra's Carmina Burana under James Levine sound acceptable.
The sound is quite good but the interpretation sucks big time.
How it differs from the Rundfunkchor und Sinfoni-Orchester from Leipzig under Hegel.
Here the interpretation is sublime but the sound quality sucks.
Pfffffffff.... no eq for that.
 
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Sep 27, 2017 at 10:03 AM Post #4,824 of 14,377

purehifi192

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Well, with the announcement and release of the new small Loki, we may have opened up an envelope of contention from "traditional" audiophiles. Jason covers that well in his Chapter today and presents a use case for them as remedial. Given the Loki is an analog one, I hope what I say will not be dismissed as patent cheerleading. After all, Jason and I have had quite a few discussions on the topic. In case you haven't guessed, I am a proponent of analog equalizers over digital ones as a remedial tool.

@Baldr how would the Loki Mini co-exist with the Gadget, if at all?
 
Sep 27, 2017 at 10:07 AM Post #4,825 of 14,377

EricDH

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@Baldr how would the Loki Mini co-exist with the Gadget, if at all?

They will be completely independent and unrelated products. The Gadget works in the digital domain, Loki in the analog domain. The Gadget will only (well, only, it is quite an accomplishment) change the pitch (tuning to C=256 if I am not completely mistaken), whilst Loki is an equalizer. They can perfectly co-exist.
 
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Sep 27, 2017 at 10:09 AM Post #4,826 of 14,377

EricDH

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Could even make the Chicago Symphony Orchstra's Carmina Burana under James Levine sound acceptable.
The sound is quite good but the interpretation sucks big time.
How it differs from the Rundfunkchor und Sinfoni-Orchester from Leipzig under Hegel.
Here the interpretation is sublime but the sound quality sucks.
Pfffffffff.... no eq for that.

So we need again another Gadget. One that merges the sound quality of one recording with the artistic qualities of another. That may require 5 Mikes and 10 Ivana's.......
 
Sep 27, 2017 at 10:12 AM Post #4,827 of 14,377

Pietro Cozzi Tinin

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They will be completely independent and unrelated products. The Gadget works in the digital domain, Loki in the analog domain. The Gadget will only (well, only, it is quite an accomplishment) the pitch (tuning to C=256 if I am not completely mistaken), the Loki is an equalizer. They can perfectly co-exist.
I hope there's a possibility to "set" your own green point at the MP.
In no way the software will be always accurate.
Maybe an idea for the Maxi-MP
 
Sep 27, 2017 at 10:17 AM Post #4,828 of 14,377

EricDH

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I hope there's a possibility to "set" your own green point at the MP.
In no way the software will be always accurate.
Maybe an idea for the Maxi-MP

Yes, that is exactly what I also proposed earlier. So you can tune it to your taste. Or to what was used in a specific period in the music history, or by a specific composer, or whatever. Still, if Mike is right, we will all automatically gravitate towards C=256 and experience the perfect musical satisfaction.
 
Sep 27, 2017 at 10:18 AM Post #4,829 of 14,377

Pietro Cozzi Tinin

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So we need again another Gadget. One that merges the sound quality of one recording with the artistic qualities of another. That may require 5 Mikes and 10 Ivana's.......
A good orchestra, choir and conductor under optimal recording circumstances would suffice.
The problem is the Carmina Burana itself.
The orchestra and choir needed are quite large and have to be in one room to pitch to each other.
Two conductors who can work together would be a big plus.
Somehow this enormously populair classical porn piece was never recorded well.
 

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