Hey guys. I posted this over in the Klipsch Forum. Thought you might like to read it.
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I have been doing a lot of listening to my CD collection during the last few weeks. I have hundreds of the little blighters. Most of them I've only listened to once or twice and then put on the shelves. I did this because the have sounded too flat and boring, or in some cases I didn't like the music.
Anyhow in my latest listening spree (just like WPM in his post about the Cornwall III's) I've reinstated a lot of my older CD's to my current playlist. Why did I do this?
Well, it's because these CD's sounded stunning on my new system. Now I was curious as to why this is so.
Some of these reinstated discs include Nora Jones' first two albums. I thought these discs were typical examples of the current fad for gorgeous looking dames with long hair, lipstick and breathless whispers for talent. I was wrong - well, not wrong about the breathless whispers...
Now these discs really do sound like some live music venues I've been to. There's immediacy, dynamics, every instrument sounds like a real instrument and everything just hangs within the huge soundstage. It sounds like all the musicians are playing together so there's 'balance' to the sound. What I mean by that is that typical multi miked - multitracked recordings probably record each musician individually in a booth with headphones - rarely as a group. So they don't actually play together. Or if they do they're playing to the microphone. So there's not that cohesiveness or desire to mesh in with the other musicians. The result in many modern recordings is an overpowering mess in the final mix with every musician playing the hell out their instrument with no feedback from the other musicians - the only feedback is from the recording engineer!
So those recordings that are done with limited compression, no mixing consoles, no miles and miles of op-amps etc. never each out and grab you by the... (you know what I want to say!) are hiding in your collection. Drag 'em out and give them a spin.
**************************************************
I have been doing a lot of listening to my CD collection during the last few weeks. I have hundreds of the little blighters. Most of them I've only listened to once or twice and then put on the shelves. I did this because the have sounded too flat and boring, or in some cases I didn't like the music.
Anyhow in my latest listening spree (just like WPM in his post about the Cornwall III's) I've reinstated a lot of my older CD's to my current playlist. Why did I do this?
Well, it's because these CD's sounded stunning on my new system. Now I was curious as to why this is so.
Some of these reinstated discs include Nora Jones' first two albums. I thought these discs were typical examples of the current fad for gorgeous looking dames with long hair, lipstick and breathless whispers for talent. I was wrong - well, not wrong about the breathless whispers...
Now these discs really do sound like some live music venues I've been to. There's immediacy, dynamics, every instrument sounds like a real instrument and everything just hangs within the huge soundstage. It sounds like all the musicians are playing together so there's 'balance' to the sound. What I mean by that is that typical multi miked - multitracked recordings probably record each musician individually in a booth with headphones - rarely as a group. So they don't actually play together. Or if they do they're playing to the microphone. So there's not that cohesiveness or desire to mesh in with the other musicians. The result in many modern recordings is an overpowering mess in the final mix with every musician playing the hell out their instrument with no feedback from the other musicians - the only feedback is from the recording engineer!
So those recordings that are done with limited compression, no mixing consoles, no miles and miles of op-amps etc. never each out and grab you by the... (you know what I want to say!) are hiding in your collection. Drag 'em out and give them a spin.
