- Thread Starter
- #61
Another prime example for the Giya's separation powers came by way of a Burak Malçok track from Hidden Breath remixed by Mercan Dede. It's a sonic collage in which an added ambient groove with widely panned beats and synth effects coexists with Turkish ney flute and qanun, frame drums, vocal snippets and brief windows into very faint outdoor city din. It's an obvious if truly masterful assemblage of different venues which are overlaid and interstitched. The G4 sorted them all maximally discrete, distinctive and layered up. It even worked out the difference between the air that goes into the end-blown flute versus what goes over it to create that trademark nimbus of overtone spray. Once more, simultaneous textures were farther stretched apart: the metallic wiriness of the plucked qanun, the breathiness of the ney, the ambiance-wrapped background noises, the duller synth versus springier real drums, the divergent acoustics existing in different layers - it all was plainly apparent. The construct's tasteful artifice became visualized like a walk-in soundtrack, no pictures necessary. The sound hung wall-to-wall in free space with all of its coordinates precisely mapped. Eyes closed, there were no audible reminders of where and what produced any of it. I wasn't even aware of ported giveaways because the bass didn't betray ringing or bloating after I'd rolled opamps and repositioned the Giyas a bit closer to the front wall. For a short while, I was living on a higher audiophile plateau. I was the one thundering down the left lane at 180km/h.
Very well recorded environmental/middle eastern music. Exceptional sense of space. Great clarity and separation between instruments. Definitely demo material.
Very well recorded environmental/middle eastern music. Exceptional sense of space. Great clarity and separation between instruments. Definitely demo material.