If you're only really noticing the problem on a few recordings, then it's because the recordings you dislike are having their problems exposed.Yes I have at least in a crude way. I have used my Dayton OmniMic system to measure my speakers near-field and away from reflecting surfaces; I have also measure the response from my listening position.
My room does have a major effect but it isn't to exaggerate the highs, if anything it rolls them off a bit. However there are mid-range bands where the response is cut or boosted. However my current strategy is to leave the mid-range unadjusted -- my speakers are pretty flat as measured in the near field. I think approach gives me the most transparency and 'air', (though maybe I'm self-deluded).
I think that's a different story then. In classical music I would guess that issue is mic placement. Radiation patterns for instruments are really variable. It's not my kind of music so I don't have too many examples but one I know of is using overhead mics for violins is liable to make them sound crispy.Very interesting. For my part I listen to mainly Classical music where compression and high mix levels are used to a much less extent. Nevertheless "harshness" is very common; it's a notable problem for violin, brass, soprano voices, and the like. The best recordings I have, at least for large scale works, the mix levels are very low compared to Jazz or popular music recordings, or even chamber music recordings.
I'm very aged. Equally to the point I'm basically stone deaf above 10kHz.How old are you? Age-related hearing issues could play a part. I seem to be a little more sensitive to some frequencies than I was in the past.
Well I notice the problem on a good many of my recordings. But for sure, my system exposes recordings with the problem.If you're only really noticing the problem on a few recordings, then it's because the recordings you dislike are having their problems exposed.
Honestly I think its your room/gear. I don't have these issues. And I am very nitpicky about tone and hate treble issues.
I'm very aged. Equally to the point I'm basically stone deaf above 10kHz.
Listening to the YouTube version of this, a little bright, but nothing crazy.I don't think the claim carries weight without examples. I'd also like to square the original poster's age, and his level of hearing loss with the assertion. If the poster is as old as he looks and has negligible hearing loss, I'm astounded. I'm 51 and will need hearing aids soon- no joke. So this isn't something I notice.. most of the time. The Moinet/Erhardt Berlin Classics disc of Bach concertos from last year is painful (someone please comfirm!)
Very interesting. For my part I listen to mainly Classical music where compression and high mix levels are used to a much less extent. Nevertheless "harshness" is very common; it's a notable problem for violin, brass, soprano voices, and the like.
My room does have a major effect but it isn't to exaggerate the highs, if anything it rolls them off a bit. However there are mid-range bands where the response is cut or boosted.
I increasingly find the opposite to be true, almost no modern recordings sound bright on my system. I find that many older recordings (80s and earlier) are lacking in bass, and may sound "bright" as a result, but not necessarily because they have too much treble. Depends a bit on what genres you listen to as well I guess. Some rock genres (and periods) tend to be pretty bright.
I also don't agree that compression / low dynamic range necessarily must mean harsh sound.
Note that I have a system that is intentionally emphasizing the low end, not a flat response.
Speculation: If you find many recordings to be too bright, the balance may be a bit off in your system - do you simply have loudspeakers that is too bright for your liking? Or possibly the room have too many hard surfaces, resulting in excessive reflections and too much information in the top end as a result.
But that's not simply "harsh recordings". Historically informed performances on original instruments tend to be brighter/harsher, don't use vibrato [or not as much], have other reasons why they sound more harsh. Also, HIP performances usually use A=415 instead of A=440.Here's a good contrast. Start the "Mozart 225" collection of symphonies from DG/Decca (first symphony is English Concert/Trevor Pinnock),then compare to the first parts of the Philips complete Mozart symphonies (Neville Mariner/Academy of St. Martin in the Fields 1995).
or search for "Mozart Symphony No. 1 in E flat Allegro" and compare those and other tracks.
The DG/Deccca sounds pretty harsh, at least thru my Sennheiser's now. Of course, the first thing you have to get used to is the pitch difference (oy- Berlin Philharmonic). YOW!
One thing I've found helpful in the past is running a real-time analyzer while listening to music.
Brightness is not highest frequencies. It's in the 2-6KHz range. Tone controls usually have a 10KHz corner frequency. And I agree with the original poster that a lot of recordings are too bright. I think it's because of mastering engineers who don't give a shit. I have a Quad preamp with useful tone controls, including spectral tilt.I have used and still use so roll-off of highest frequencies -- it helps a little but rarely gets rid of problem. That is, I think there is something more to it than merely an upward sloping response curve on the recording.
Two things, constant exposure to loud sound makes sound engineers ears burn out faster, and some engineers I've worked with used mellow sounding monitors [so they don't burn out their ears], resulting in recordings that are more harsh sounding on gear that's more open on top.Brightness is not highest frequencies. It's in the 2-6KHz range. Tone controls usually have a 10KHz corner frequency. And I agree with the original poster that a lot of recordings are too bright. I think it's because of mastering engineers who don't give a shit. I have a Quad preamp with useful tone controls, including spectral tilt.
Since I can hear it, apparently it is.yes but harshness could be occurring in the 2-5khz range...
Thank you for pointing out the the harshness problem tends to be in the 2-6kHz range. This is something that I might considering when hoping to use EQ to reduce brightness/harshness.Brightness is not highest frequencies. It's in the 2-6KHz range. Tone controls usually have a 10KHz corner frequency. And I agree with the original poster that a lot of recordings are too bright. I think it's because of mastering engineers who don't give a shit. I have a Quad preamp with useful tone controls, including spectral tilt.