Whose "accuracy"?
 

In article , Rod
scribeth thus

"tony sayer" wrote in message
...
In article , Mr.T
MrT@home.? scribeth thus

"tony sayer" wrote in message
...
As witnessed occasionally, as part of the day job I have to maintain
some radio broadcast equipment at Ely Cathedral and sometimes stop for
choral evensong if its that time of the day, and its a good stress
buster too;!. That always sounds more distant then whatever I'd hear at
home no matter where I can practically sit!....

The operative words being "where you can practically sit".
The conductor has a different perspective however.

MrT.



Not with choral music or rather a typical liturgical setting....

However, in this context of "live", the room has a considerable effect on
the overall sound.


Not really .. thats fixed in its "aspect" even sounds that way on
phones..

--
Tony Sayer

Whose "accuracy"?
 

"tony sayer" wrote in message
...
In article , Rod
scribeth thus

"tony sayer" wrote in message
...
In article , Mr.T
MrT@home.? scribeth thus

"tony sayer" wrote in message
...
As witnessed occasionally, as part of the day job I have to maintain
some radio broadcast equipment at Ely Cathedral and sometimes stop for
choral evensong if its that time of the day, and its a good stress
buster too;!. That always sounds more distant then whatever I'd hear
at
home no matter where I can practically sit!....

The operative words being "where you can practically sit".
The conductor has a different perspective however.

MrT.



Not with choral music or rather a typical liturgical setting....

However, in this context of "live", the room has a considerable effect on
the overall sound.


Not really .. thats fixed in its "aspect" even sounds that way on
phones..

That's exactly my point. In a choral/cathedral situation both live and
recorded the room has a considerable effect on the sound of unamplified
voice, and even amplified voice if the PA has not been designed properly.
With RT60 readings in the 5-15 second region the sound of the space adds
considerable energy at any listening position, and so any recording attempt
except for very close miking will always pick up the room sound. This will
be translated into the recording you hear at home, regardless of whether you
use headphones or not.

Rod

--
Tony Sayer

Whose "accuracy"?
 

"Rod" wrote in message
...

"tony sayer" wrote in message
...

In article , Mr.T
MrT@home.? scribeth thus...

As witnessed occasionally, as part of the day job I have to maintain
some radio broadcast equipment at Ely Cathedral and sometimes stop
for
choral evensong if its that time of the day, and its a good stress
buster too;!. That always sounds more distant then whatever I'd hear
at home no matter where I can practically sit!....

The operative words being "where you can practically sit".
The conductor has a different perspective however.

Not with choral music or rather a typical liturgical setting....

However, in this context of "live", the room has a considerable effect on
the overall sound.

Not really .. thats fixed in its "aspect" even sounds that way on
phones..

That's exactly my point. In a choral/cathedral situation both live and
recorded the room has a considerable effect on the sound of unamplified
voice, and even amplified voice if the PA has not been designed properly.
With RT60 readings in the 5-15 second region the sound of the space adds
considerable energy at any listening position, and so any recording
attempt except for very close miking will always pick up the room sound.
This will be translated into the recording you hear at home, regardless of
whether you use headphones or not.

Which is why certain churches are used quite a lot as 'recording studios',
and not just for liturgical works either. Perhaps one of the best known of
these is Arne Domnerus/Gustaf Sjokvist's 'Antiphone Blues', which was
recorded in 1974 at Spanga Church, Sweden.
Ry Cooder also uses several churches in the US for recording purposes, as do
many other artists. This 'room sound' is on the recording no matter where
you listen to it, or whatever equipment you use to do so.
Where does 'accuracy' fit into all this? Obviously, it doesn't.

ruff

Whose "accuracy"?
 

"roughplanet" wrote in message
...
"Rod" wrote in message
...

"tony sayer" wrote in message
...

In article , Mr.T
MrT@home.? scribeth thus...

As witnessed occasionally, as part of the day job I have to
maintain
some radio broadcast equipment at Ely Cathedral and sometimes
stop for
choral evensong if its that time of the day, and its a good
stress
buster too;!. That always sounds more distant then whatever I'd
hear at home no matter where I can practically sit!....

The operative words being "where you can practically sit".
The conductor has a different perspective however.

Not with choral music or rather a typical liturgical setting....

However, in this context of "live", the room has a considerable
effect on
the overall sound.

Not really .. thats fixed in its "aspect" even sounds that way on
phones..

That's exactly my point. In a choral/cathedral situation both live
and recorded the room has a considerable effect on the sound of
unamplified voice, and even amplified voice if the PA has not been
designed properly. With RT60 readings in the 5-15 second region the
sound of the space adds considerable energy at any listening
position, and so any recording attempt except for very close miking
will always pick up the room sound. This will be translated into the
recording you hear at home, regardless of whether you use headphones
or not.

Which is why certain churches are used quite a lot as 'recording
studios',


And because they got dirt girt organs in them...

Whose "accuracy"?
 

Not with choral music or rather a typical liturgical setting....

However, in this context of "live", the room has a considerable effect on
the overall sound.


Not really .. thats fixed in its "aspect" even sounds that way on
phones..

That's exactly my point. In a choral/cathedral situation both live and
recorded the room has a considerable effect on the sound of unamplified
voice, and even amplified voice if the PA has not been designed properly.
With RT60 readings in the 5-15 second region the sound of the space adds
considerable energy at any listening position, and so any recording attempt
except for very close miking will always pick up the room sound. This will
be translated into the recording you hear at home, regardless of whether you
use headphones or not.


Yes I think we were coming at that from different directions .. well
sort of!..

--
Tony Sayer

Whose "accuracy"?
 

"tony sayer" wrote in message
...
Of course, we all have our own version of taste. Mine is simply the
sound I heard in the room on the day, with the performers on the
recording playing live. Peter Walker's "window on the concert hall"
has legs.

My contempt for the farm machinery mechanics among the meterhead
"engineers" is matched only by my contempt for self-acclaimed golden
ears among the "audiophiles" whose only reference is other amps they
have heard, whose definition of "better" is a more stunning sound than
the last amp they heard, regardless of the intrinsic dynamics of the
performance, who never go to concerts because they already know what
they like.

Yep!, it does you good to get out more .. the sounds I've heard this
Proms season bear little resemblance to what I expect to hear at home
being more distant in overall balance;)...

--
A visit to the control room on a live broadcast such as the proms,
is a very interesting listening experience.

Whose "accuracy"?
 

In article i, Iain
Churches scribeth thus

"tony sayer" wrote in message
...
Of course, we all have our own version of taste. Mine is simply the
sound I heard in the room on the day, with the performers on the
recording playing live. Peter Walker's "window on the concert hall"
has legs.

My contempt for the farm machinery mechanics among the meterhead
"engineers" is matched only by my contempt for self-acclaimed golden
ears among the "audiophiles" whose only reference is other amps they
have heard, whose definition of "better" is a more stunning sound than
the last amp they heard, regardless of the intrinsic dynamics of the
performance, who never go to concerts because they already know what
they like.

Yep!, it does you good to get out more .. the sounds I've heard this
Proms season bear little resemblance to what I expect to hear at home
being more distant in overall balance;)...

--
A visit to the control room on a live broadcast such as the proms,
is a very interesting listening experience.



In what way?, do tell more.....
--
Tony Sayer

Whose "accuracy"?
 

Since we're on about accuracy, Tony didn't write the two pars starting
"Of course..." and "My contempt for the farm machinery mechanics among
the meterhead 'engineers'...". I did. Though I am of course glad that
someone of Tony's admirable taste agrees with me. -- Andre Jute

Iain Churches wrote:

"tony sayer" wrote in message
...
Of course, we all have our own version of taste. Mine is simply the
sound I heard in the room on the day, with the performers on the
recording playing live. Peter Walker's "window on the concert hall"
has legs.

My contempt for the farm machinery mechanics among the meterhead
"engineers" is matched only by my contempt for self-acclaimed golden
ears among the "audiophiles" whose only reference is other amps they
have heard, whose definition of "better" is a more stunning sound than
the last amp they heard, regardless of the intrinsic dynamics of the
performance, who never go to concerts because they already know what
they like.

Yep!, it does you good to get out more .. the sounds I've heard this
Proms season bear little resemblance to what I expect to hear at home
being more distant in overall balance;)...

--
A visit to the control room on a live broadcast such as the proms,
is a very interesting listening experience.