[warning: oblique arguments ensue]
On Tue, Mar 18, 2014 at 9:16 AM, David Pickett wrote:
> Pace Paul, by the time it got to the third movement of the Dvorak, I was
> quite impressed. The Festival Hall is not over-endowed with ambiance, but
> when I turned the back up a bit, what I heard was akin to what I often hear
> in a concert hall when not too close to the stage, as opposed to when I am
> conducting. That is, a somewhat disembodied sound, with relatively little
> stereo information. I really had the impression of being there. The sound
> was not bad for mp3-quality, the dynamic range was quite satisfactory. I
> thought it sounded a little distorted at the end of the Rachmaninov, not
> overload distortion but digital grittiness. I was able to enjoy the music,
> which is what it is all about, isnt it?
is it? ... is it about enjoying the music, or is it about disbelief
being suspended?
What is the relationship between the "feeling" of believing you are in
the performance hall, and the "feeling" of the music being performed?
Is there not another, parallel suspension of disbelief that exists in
the music itself? What is the relationship between the suspension of
disbelief within the musical material, and the suspension of disbelief
that is technologically achieved through audio engineering?
What if the musical subject matter itself is concerned with space ...
such as Ligetti's Lontano. If you were listening at home to a spatial
recording of an orchestra performing Lontano, would you get the
impression that you were travelling through outer space (as I do), or
would you get the impression that you were sitting in a chair at an
orchestral performance? Which spatial disbelief would be suspended?
Which one is the more aesthetically engaging one?
Perhaps both disbeliefs would be suspended but how does one affect
the other?
Etienne
> That said, the ability to stream four synchronised channels over the
> Internet is an impressive technological step forward. Much more polished
> than the BBC's stereo experiments with radio and tv channels together in the
> late 50s (for which one had to re-solder the wires on the radio Loudspeaker,
> if it proved to be out of phase!), or the two stereo radio channels used
> very late at night in the mid 60s for surround experiments...
>
> There is always room for improvement!
>
> David
>
>
>
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