Originally Posted by AustinJerry
Originally Posted by Selden Ball
A counter-point argument is that while watching movies, we're distracted by the visuals, so poor audio reproduction isn't as noticeable. When listening to music, we aren't distracted, so minor problems can be much more obvious. Of course, things sounding different does not mean they're wrong.
This is not exactly what I had in mind. Music in many cases relies on a certain amount of reflections in the listening room to sound "alive". If the room is over-treated, the music can sound dull and lifeless. Movies, on the other hand, have the ambience necessary to reproduce the effects engineered into the soundtracks, and don't rely on the room reflections as much. I don't think it is a matter of poor audio reproduction.
Why would the music recordings not have the ambience of the venue recorded into them? WRT to classical music, my understanding is that the halls it is played in are a crucial part of the performance and some enthusiasts will go to great lengths to hear their favourite orchestras in different venues such as, for example, Carnegie Hall or the Albert Hall or the Concertgebouw and so on, such is the influence of the hall on the sound. I find it extraordinary to imagine that a major objective of the recording engineers would not be to attempt to capture this ambience. With studio-recorded music, surely the engineer will add any ambience, reverb etc that he feels is required or is mandated by artistic requirements?
This is the part I don't get wrt to the discussion at hand. If the environmental factors of the recording space/venue have already been recorded into the soundtrack, then how does adding some additional ambience at the playback venue help? Surely it is just distortion?
Are we talking the difference between stereo recordings and M/ch recordings perhaps? Is it stereo recordings which need the ambience added back at the playback venue? This would obviously not be the case with movies as they are almost exclusively M/ch recordings. And presumably not the case with M/ch recordings of music? If so, then this might also explain why music sounds so good in my two channel room which is entirely untreated, although I suspect it is that I have learned to 'hear through' the problems induced by the room and don't notice them any more. Interesting topic.
EDIT: if my assumptions are correct then a move to M/ch music would seem to be urgently needed. To rely on the vagaries of multiple playback venues, with an unknown 'reflectivity quotient' seems to be an entirely hit and miss affair, with nobody really having any idea how the finished product might sound because it will sound different wherever it is played.
As part of my recent experiments with treatments and REW, I have been using music in my HT in order to evaluate bass. The music has mainly been Jazz or Jazz Fusion and all the recordings were stereo but I also played them in PLIIx Music mode and was highly impressed at how good they sounded. They were all studio-recorded tracks and they gave a superb feeling of jazz being played in a more intimate 'club' atmosphere - venues I have had considerable experience of. I didn't try any classical music (I was evaluating bass) but maybe I should, from my limited repertoire of such content.
Edited by kbarnes701 - 3/6/13 at 10:05am