Houston, close in where there is lots of noise.
I lived and worked in The Woodlands for a couple of years - didn't spend much time inside the beltway.
Houston, close in where there is lots of noise.
I lived and worked in The Woodlands for a couple of years - didn't spend much time inside the beltway.
Well, .3 mV would be about 60 db less than 2.83 volts used for testing 8 ohm speakers at 1 watt. So a speaker that can put out 80 db SPL in room with 1 watt (which is most of them) would be loud enough to be heard. Of course such a speaker would reach beyond 120 db SPL at max.The Benchmark mentioned may be quiet, but it can only swing 56.57V (BTL @ 16ohm)
If you can capture your 110dB of dynamic range, a Mac MC1.2KW can swing nearly 100V RMS over 8 ohms with a rated S/N of 124dB. That puts your content at around 0.3mV and your noise down at approx 60uV.
I don't know what 0.3mV will sound like on most speakers, but you might get a peep out of a horn. At the other end however, two set of earplugs, a solid brick house and some very understanding neighbors.
Let's face it. CD 16/44 gave us a dynamic range that was only ever exploited on industry test discs, never commercial musical content. The lily was well and truly gilded in 24K gold in 1982.
Of course such a speaker would reach beyond 120 db SPL at max.
I don't have any kind of access to Tidal & they don't seem to give you any kind of search capability before you sign up.
Ah, I trust this is the one: https://bis.se/label/bis/ravel-daphnis-et-chloe-1Not it. All the services have that one. That one's a 2009 CD from a major label, iirc. He wants the 2015 recording from BIS.
Edit: I just found the BIS one on the Amazon for-pay streaming service too.
If you can lower yourself to mingle amongst the proletariat, it can be found on either Spotify or Apple Music--you are probably eligible for a free trial from one or both. You just search on "Ravel Yannick." It will pull up two recordings. You want the one where it looks like the guy on the cover has lost his balance mired in his outrage and is about to fall over backwards.
YouTube Music does not seem to have it. So I'd give 50/50 odds Tidal has it. I don't have any kind of access to Tidal & they don't seem to give you any kind of search capability before you sign up.
That's a beautiful recording as well, not as well recorded as the BIS, of course, and only the 2nd Suite, not the full Daphnis et Chloé. The Warner disc has my favorite performance of Ravel's La valse, and the other pieces are gorgeous as well. I owned and enjoyed this album which led me to order the BIS recording as I wanted to hear Nézet-Séguin/Rotterdam perform the full ballet. I figured the BIS sonics would be superior, but I had no idea just how dramatic the difference would be (especially as the Warner recording is itself very very fine).Is this the one?
View attachment 30202
If so it is on Tidal but took multiple tries to find it (in Roon).
I love Daphnis et Chloe and would like to hear this performance. Has anyone been able to find it on Tidal?
(I ask because Tidal has a pretty crummy search method, especially for classical, and I've had no luck).
Ah, I trust this is the one: https://bis.se/label/bis/ravel-daphnis-et-chloe-1
It is available for preview and download: https://www.eclassical.com/labels/bis/ravel-daphnis-et-chloe-2.html
I can understand why compression was and is used, but I find that compression takes away the feeling of "being there" to a greater extent than any other manipulation.I do think this thread indicates that judicious and careful use of compression is useful.
If recording without compromise so as to maximise DR results in having to listen to music with a hand on the volume control and puts demands on audio systems that few can properly fulfil then it becomes a bit of an empty result. Yes, it is probably a wonderful technical achievement in isolation but from the perspective of most users the result will be sub-optimal.
Compression has gotten a bad name from the excesses we've seen in rock and pop and some of the dire re-masters we have experienced but if used sensitively it has its place.
And that is before even considering that if most music nowadays is played on small BT and multi-room speakers or car audio then inevitably that's what will set the demands for recording. What I do wonder is whether any recording companies would do parallel masters, a compressed one for the mainstream market and an alternative one aimed at people who want a wider dynamic range version?
I can understand why compression was and is used, but I find that compression takes away the feeling of "being there" to a greater extent than any other manipulation.
I may be lucky in having a quiet room, distant neigbours and speakers and amps that can deal with it, but my own recordings sound more realistic to me than most commercial ones despite my being a complete amateur using only 2 microphones. Labels like BIS are a godsend, I will be buying more from them (though not Daphnis & Chloe which is not really my taste )
All compression is bad for a realistic feel IME but we have to put up with it for the good of the masses
Yes, I thought for years that someone pushing high res would catch on. When remastering something instead of compressing it more as is the modern convention, why not advertise how little compression was used? Extended frequency and extended dynamic range.I tend to agree in principle but I think that the recording labels are between a rock and a hard place on this one. The only way out I can see is tiered releases. One of the selling points of some high res music is using superior masters, which to me is the only real reason I would get into high res.
Indeed, with so much being sold as downloadable files a compressed as normal and a not-buggered-about option wouldn't be impossible. OTOH It would mean me going back to downloaded filesYes, I thought for years that someone pushing high res would catch on. When remastering something instead of compressing it more as is the modern convention, why not advertise how little compression was used? Extended frequency and extended dynamic range.
Search for "ravel daphnis":
https://tidal.com/browse/album/56902444
From a review in Fanfare by Steven Kruger:
"The dynamic range of the performance is impressive here, immediately noticeable at the opening. Nézet-Séguin is masterful at finding meaning in anything quiet. But as the music comes to life, one finds a veil over the middle and upper reaches of the orchestra. The sound is rich but opaque. Upper string passages seem muffled by the presence of the chorus. And the bass drum now thickens every moment in which it participates to an unnatural degree. It is obvious that a microphone is nearly on top of it.
[...]
I have never heard a Daphnis and Chloe which so much reminded me of the Brahms German Requiem."