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In Reply to: RE: Ravel, Tombeau: Stott, Nagi, Pizarro posted by pbarach on July 24, 2015 at 16:30:05:
"Tony, how do you know that the differences you hear are related to the recording device and not to other factors, such as the mics and their positioning, the piano, room acoustics, etc.?"
I don't.
Probably the biggest difference is the pianists. (But the three pianos were also different makes.) One can get a lot of sound out of a piano without harshness without "banging". I know. I was an amateur pianist in my school days and played some Ravel. I was married to a pianist for more than 40 years. My late wife could get incredible volume out of her Steinway B without it sounding harsh. However, to the extent that the things that I hear are actually on the recordings and are not caused by the limitations of my equipment and my aging ears, I still lay the blame (or credit as the case may be) on the engineers making the recording and the people they work for (if different) who own the record label. They select the microphones, the venue and position the microphones, etc... If they can hear a problem they can correct it. If they can't then the problem remains on the final product, unless by virtue of DS luck problems cancel out. Different gear has its characteristic sound. Thus the Channel Classics recordings made with the Grimm ADC sound distinctly better than those made by the same engineer using other DSD ADCs. In the case of the early BIS recordings, many of them are exceptionally good, for whatever reason, I can not say.
You will find a link to my wife's 1977 recital in Jordan Hall where she plays Ravel's Gaspard de la Nuit. Enjoy. This was a Steinway D (concert grand) same make and model as on the new BIS recording.
Tony Lauck
"Diversity is the law of nature; no two entities in this universe are uniform." - P.R. Sarkar
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- RE: Ravel, Tombeau: Stott, Nagi, Pizarro - Tony Lauck 07/24/1518:26:23 07/24/15 (0)
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