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The Truth about many "Audiophile" Piano Recordings

thuoclatoba

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I pay attention to a ton of traditional and jazz as a general rule, so when I lay out assuming something sounds "well", piano elements extremely high on the things I'd pay attention to. As does percussion and human voice - and a whole old style outfit, as well (I in all actuality do stay away from the cannon shot in 1812, however, I believe that is the silliest sound platitude).

One thing I see as absolutely amusing in audiophile distributions is the point at which they proclaim a few accounts audiophile pearls they use as reference... furthermore, regularly these incorporate piano. I get it and we've all perused session it... catching the piano is especially difficult. Also, most piano players have inner selves, and presumably tell the recording engineer "individuals purchase this record as a result of ME, yet I sound like I am simply in the room on the left" (which is the way they sound in the event that you're in a show lobby sitting in the crowd, obviously).

Recording engineers have banters going to best record a piano, there are a few speculations out there.

I think it is interesting, in any case, when an audiophile analyst totally goes into the introduction of a piano recording.... which, when *I* stand by listening to it, experiences what I call "the 30ft piano" recording issue which is exceptionally pervasive: you hear one side of the piano coming more from the right speaker, the opposite side of the keys from the other. They have miked it so that is sounds waaaaay more extensive than 58 inches or somewhere in the vicinity. There is zero phase when you do that, however numerous audiophile accounts (and I need to concede I love them) are such. Numerous Keith Jarrett accounts have that 30ft piano impact, yet it's by a long shot not alone. My speakers are 7ft separated, so it's absurd when the piano is introduced spreading over that whole width... is it a Terasaur with a 10ft wingspan playing? :- D

I simply think it is engaging that we invest such a lot of energy discussing estimations of gear, and very little discussing the imperfections in numerous accounts that are taken as a kind of perspective.

Unexpectedly, at times precisely the same occurs with undeniably more minimized percussion instruments. I worship Jack DeJohnette, yet in a few of his (in any case all around recorded) tracks, he plays huge percussion instruments where one hand plays the one of the two conga or bongo drums on one speaker, the other in your other speaker and you wonder... how lengthy are Jack's arms?
 

Daverz

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Could you list a few good piano recordings for reference?
 

kongwee

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I love how they produce the low key sound on the left, the high key on the right. In fact, playing piano, it is hard to separated the tone of all keys. They fused together not so directional.
 

pablolie

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I am immensely enjoying Víkingur Ólafsson's Mozart and Back recordings... but everything by him is awesome. Same with Helene Grimaud.

Recording challenges remain, but what can you do when it's solo piano...

Not a piano thing, but I *immensely* enjoy some of Deutsche Grammophon's "Recomposed" series, especially Max Richter's "Four Seasons" and Peter Gregson's take on Bach. It's pristine in recording quality IMO, and totally refreshing to hear some twists on originals we're heard a million times before.
 
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