I don’t know much about binaural recordings using a Neumann head. But when it comes to recordings made with normal microphones, they must always be positioned much closer to the sound source to represent a similar sounding result as a listener listening position further away. The problem is that the microphones will pick up a much higher ratio of room-reflected sounds which our hearing will “filter” out at the same distance, microphones simply don't work as our hearing and will not make a distinction between reflections and direct sounds.
-
Welcome to ASR. There are many reviews of audio hardware and expert members to help answer your questions. Click here to have your audio equipment measured for free!
The Truth about many "Audiophile" Piano Recordings
- Thread starter pablolie
- Start date
Good on my SENNHEISER RS220 headphones, too. Yep, they're old...
There's a choice to make, do you go room centre or instrument sonic centre, they appear to have chosen the latter as L/R is well balanced and I think it is a good choice.
When I've set them up they've been to capture the room and audience reactions so for that room centre has been optimal.
Listening to some of the other binaural recordings on their channel, for me they are a bit hit and miss.
Digital_Thor
Addicted to Fun and Learning
It all adds up. Peter Bence use the two mic setup too. Sounds pretty good to me 
And yes, I had real life demonstrations of most instruments and know there's a difference between recorded and live performances... Especially the room.
And yes, I had real life demonstrations of most instruments and know there's a difference between recorded and live performances... Especially the room.
- Joined
- Feb 27, 2018
- Messages
- 1,074
- Likes
- 1,208
The sax ensemble recordings have way too much "room" IMHO. That's my general impression of binaural recordings and why I was surprised that the Kobrin recordings sounded as good as they do.
Sounds very realistic on my brand new Easter toy, a Koss ESP/950 (fed by a Qudelix 5k with EQ).
Digital_Thor
Addicted to Fun and Learning
If your stereo is neutral and capable, even this full fletched foot-tipping bass won't cover up Jeff's piano
After I aimed for neutral and stopped drooling about typical hifi gear with a 'character' , I've enjoyed music much more
After I aimed for neutral and stopped drooling about typical hifi gear with a 'character' , I've enjoyed music much more
I'm not much of a Jazz fan but this one I completely enjoyed.If your stereo is neutral and capable, even this full fletched foot-tipping bass won't cover up Jeff's piano
After I aimed for neutral and stopped drooling about typical hifi gear with a 'character' , I've enjoyed music much more
I could follow the rhythm, hum the tune, and if pressed could maybe even dance to it.
Thanks for the post DT
Bösendorfer with black keys! Must be fancy!It all adds up. Peter Bence use the two mic setup too. Sounds pretty good to me
And yes, I had real life demonstrations of most instruments and know there's a difference between recorded and live performances... Especially the room.
I don't know much about pianos, I thought the sharps & flats were black on all pianos ?Bösendorfer with black keys! Must be fancy!
Every key on piano can be sharp or flat.
Bosendorfer Grand Imperial 290 in the video has extended low range, that is marked by switching colors of the "white" keys. 97 keys instead of 88. Beast of the piano!
Well sure, all that takes is a twist of the tuning peg.Every key on piano can be sharp or flat.
Bosendorfer Grand Imperial 290 in the video has extended low range, that is marked by switching colors of the "white" keys. 97 keys instead of 88. Beast of the piano!
But I was referring to convention here and didn't realize the 290 was a 97 keyboard.
AFAIK, all 88s are tuned by convention with the blacks as sharps or flats. NO ???
no.
Which 88 has a non-conventional tuning?
Sal, the wide black keys at the bottom of a 290 are tuned to the Cmajor scale just like the white keys above them. The narrow keys (also black) are tuned to the semitones between the notes of the Cmajor scale. The extra keys at the bottom are black to avoid confusing the pianist. They are not intended to be played—rather they are there to add overtones.
Rick “avoiding words like sharp and flat that mean different things in different contexts” Denney
Well if you don't "play" them, how can you add overtones?
LOL Just teasing ya Rick.
And you still didn't answer my question. ;:
I can barely handle the basic 88 after 3 1/2 years of practice.
I still enjoy an hour or so on the bench most every day but being honest I'm having a hard time keeping
up my enthusiasm knowing I'll most likely never reach the level I'd hoped for..
Don't get old my Pop always told me.
Robin L
Master Contributor
Don't know if you've heard a French Baroque lute. Lots of strings, including some on the bottom that can be played, but mostly add resonance:Well if you don't "play" them, how can you add overtones?
LOL Just teasing ya Rick.
And you still didn't answer my question. ;:
I can barely handle the basic 88 after 3 1/2 years of practice.
I still enjoy an hour or so on the bench most every day but being honest I'm having a hard time keeping
up my enthusiasm knowing I'll most likely never reach the level I'd hoped for..
Don't get old my Pop always told me.
Don't think I've ever seen one before, let alone heard one. LOL
Robin L
Master Contributor
Similar threads
- Locked
