[FLTWS]

http://www.classical.net/music/comp.lst/works/orff-cb/carbur9.php

Thanks, will make for a nice read.

 

[sublime9]

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.......

What would be cool is an MP that could resolve just vs. tempered tuning.

 

[bosiemoncrieff]

Could a floor wart cover Eitr, Gadget, Loki, and, say, my original Vali?

And could a future gadget help dispel the hiss of old recordings in real time? I know pristine classical is the result of hours of careful editing, but surely Ivana (nearly misspelled that, force of habit!) could create some algorithm for modest noise reduction?

 

[gwitzel]

Ow, I should try to find this. I love his performance of the 4 ballads of Brahms.

The Brahms ballads by ABM are THE reference recording for me. Unfortunately, ABM did this with several pieces, I mean delivering a reference recording that leaves you unsatisfied with even the best live performances. Ravel piano concerto is another example.

 

[bosiemoncrieff]

I haven't listened. I'll do that this morning.

Had a super trippy dream I was demoing the gadget with Walkure, I want to say the climax of the 2.4 duet. I've never heard it better.

 

[commtrd]

I'm in the 4% I guess, mainly because I don't care about other people's opinions on what something "sounds like." The only subjective opinion that matters is my own (and it's the same for everyone.)

All true and well said BUT many times there is not a good opportunity to audition a new prospective piece of kit beforehand so taking into account the honest reviews of those who know what they are talking about can help a person narrow down options.

 

[FLTWS]

I haven't listened. I'll do that this morning.

Had a super trippy dream I was demoing the gadget with Walkure, I want to say the climax of the 2.4 duet. I've never heard it better.

LOL! Super-Trippy indeed.

 

[Pietro Cozzi Tinin]

I'm in the 4% I guess, mainly because I don't care about other people's opinions on what something "sounds like." The only subjective opinion that matters is my own (and it's the same for everyone.)

All true and well said BUT many times there is not a good opportunity to audition a new prospective piece of kit beforehand so taking into account the honest reviews of those who know what they are talking about can help a person narrow down options.

Uh.. yes... BUT that's why people as @Ableza are convenient yes?
You're proving the point.

 

[Ableza]

All true and well said BUT many times there is not a good opportunity to audition a new prospective piece of kit beforehand so taking into account the honest reviews of those who know what they are talking about can help a person narrow down options.

So do what I do: if something interests you buy it and try it. If it is great keep it. If not, sell it. And if that is out of reach financially then other people's opinions matter even less because then it's in the realm of fantasy anyway...

 

[AudioBear]

So do what I do: if something interests you buy it and try it. If it is great keep it. If not, sell it. And if that is out of reach financially then other people's opinions matter even less because then it's in the realm of fantasy anyway...

I have wondered if people who can't afford the hyper-priced gear in Stereophile simply enjoy reading about it and dreaming. I've found myself doing that. In that case other peoples' opinions are part of the experience no matter how dumb they are....

 

[bosiemoncrieff]

Yeah, dream-Mike was doing a mini schiitshow here in North Beach, right around the corner from Caffe Trieste. There were two or three others. It was great.

What's the consensus pick for Saint-Saens piano concerti cycle?

 

[radicus]

Only, the Gadget won't show where you are at....

Heheh, one would need a Gidget for that...

 

[RCBinTN]

I was thinking about pitch control...very interested.
In another life, I had a Yamaha 2-channel receiver with bass and treble tone controls.
And, an interesting control called variable loudness.
Not just a loudness switch. It was a potentiometer. Not just on/off.
We used the loudness control all the time. To fine-tune the volume between albums.
It did affect the amount of bass vs. treble. It was easy to add more bass at low volume levels.

FWIW,
RCB

 

[Pietro Cozzi Tinin]

Tonight I have a concert.
Mahler: “Lieder Eines Fahrenden Gesellen”
Dvorak: Opus 8.
Brahms: “Tragische Ouverture”.
It’s the same orchestra I debuted as a professional timpanist when I was 12 years old.
I followed them trough the years as did all veterans so it will be a bit of a welcome home for a lot of us.
All current players know who their predecessors where so I’ll have a bunch of percussionists ordering beer for me.
Quite the honor for this old fart if I might be so bold.

 

[Leigh]

I just revisited this thread after a month (have been busy). I'm currently on holiday in Croatia. I am in love with the Adriatic! I didn't know the ocean could not smell bad

I will reserve judgment on the Gadget until I hear it. I am a bit suspicious of a small pitch shift making such a huge difference except for those with perfect pitch (for instance, correcting a master tape played back just a hair too fast/slow). But as usual Schitt makes stuff so affordable it's crazy not to try it out.

Regarding translating from one tuning to another - I do not think this is actually possible to do correctly. IMO It's a poorly posed problem with too many variables. For example, think of LaMonte Young's Well Tuned piano, about four hours of just-intoned keyboard music. Consider the beats that occur (that make it sound weird/sour to the Western ear) when many chords are played in just intonation (of course some of these beats occur in western tunings, we're just used to them). Exactly how could those beats be removed? They are part of what make just intoned music sound the way it sounds. Or, think of Balinese gamelan. Pitch shifting obviously won't remove them, and I can't envision an algorithm that could do this in a way that didn't give Baldr hemmhorroids. And philosophically I have to wonder if that kind of approach is really going too far into "musical revisionism".

I'm also glad to hear about the analog equalizer from Jason. I will check these out when I get home to the US - as tempted as I am to look at high def imagery of these beasts my data plan (er, wallet) doesn't need it that bad.

Kudos to all the great stuff from Schitt and being able to hear what is going on straight from the horses' mouths (or fingers, or... Schitt, what is the word I am looking for...)