It would only have been better if He showed up in person...

[Mallette]

Houston Symphony "Messiah." Excellent 10 rows back Orchestra seats, dual continuo of positiv organ and harpsichord, world class soloists, choir, and orchestra. I was skeptical...this is HOUSTON donchaknow. But it's my intention to sit down and listen to my "reference" Messiah, the Linn Dunedin version, while my acoustic memory is still good. I think they will be neck and neck.

In spite of what many say about no image at such venues, I closed my eyes on a number of occasions and distinctly noted the flow across the choir. This can be quite complex in Handel's score. Same for the orchestra. This is "symphonic," that is, one should not have "pinpoint" imaging as the whole point of the ensemble is a unified sound. However, that doesn't mean a "wall of mono." It's a tapestry that moves left and right...and also up and down. Whole experience points out the deficiencies of the 2 channel system. The choir was well above the orchestra and one could clearly note this acousticly. It's perfect, as the sounds arrive directly and not as completely mixed with the orchestra. It's layered with a wonderful crossover between them. Fact is, to reproduce this performance anything like accurately would require at least 4 channels just for the front. Then, of course, there's the side and rear reflections.

Anyway, it was absolutely glorius start to finish marred only by a single slipped D trumpet note at the end of "The Trumpet Shall Sound..." Stuff happens and the guy was a brilliant player, but when your lips have been buzzing at fortissimo and 6khz for several minutes a tiny slip is forgivable.

While it's obvious it's taken a lot of makeshift work to make Jones Hall acoustically viable, I think it's much better than I've heard and actually exceptional for it size....it's WAY too big for a concert hall. I'm sure being so close helped a lot. As mentioned, the soloists were incredible. Countertenor was otherworldy and the rest just as good.

I'm going to put this on my annual "do" list.

Dave

[bracurrie]

It's a tapestry that moves left and right...and also up and down. Whole experience points out the deficiencies of the 2 channel system.

If its recorded properly and reproduced on a properly configured 2 channel setup you should get that experience, but I'll be willing to bet that not many venues are setup to be recorded in properly from an accurate reproduction image emphasis. However you make a good point about the side and rear reflections. Your comments make me want to re-visit the quad recordings in my media room with the proper equipment. Handel's Messiah done right is about as glorious a live experience as you will get. Thanks for sharing.

[Turbox]

I do 4 symphony shows per year at my local theatre where they play with a Rock band. It probably holds a 2000 ppl or so. They play music of yesterday when music was still good. Floyd, Zeppelin, Beatles. The best show and song i ever seen was the symphony and band playing Hendrix, Watch Tower featuring Rick Emmit singing. Rediculously Fantastic.

"Good" Live Music gives me goose bumps. you know its good when...

[Chris A]

I was skeptical...this is HOUSTON...

Good music and good music venues are where you find them. I found the same experience when I attended three decades ago when living in the Houston-Galveston area, hearing Peter Grimes, among other performances.

Dave, thanks for the reviews and the observations. Just one word on the sound of real string orchestras: I've heard no sound reproduction systems that can fool me into thinking that I'm listening to the real thing. Perhaps a couple of reasons why.

1) the acoustic signature of a violin is the most complex that I can recall seeing for a "harmonic instrument". Here is an example FFT of a violin:

And here is a time domain view of the violin's output:

2) If you look at these plots for other instruments, including the human voice, you will likely see a much smoother display. Now imagine 25 violin players, and 8 violas, and 12 cellos, and 5 double basses all playing at the same time. The sound of this ensemble is extremely difficult to reproduce..like that of a piano or organ.

This is why I use the sound of good string orchestras, solo violins, and not-so-close-miked pianos as my reference for listening to the fidelity of amplifiers, speakers and input devices (including the recording itself). The real thing is hard to describe, but you know it when you hear it.

Dave, sorry for the diversion. It is something that I find that most "audiophile reviewers" don't really "get".

...Returning you now to your regularly scheduled transmission. [8-|]

Chris

[Mallette]

Merit in what you say, Chris, fer shure. However, it's the lack of the "space" component in the recording of an acoustic space/time event that most detracts from the "you are there" IMHO more than anything else. My experiments in 4 channel surround as recorded in "Virtual Presence and the Six Cardinal Rules of Sound Acquisition" way back that convinced me of this.

Every individual exposed to it was fooled completely.

It's a shame engineers don't seem to have a clue as to how to record this way. It isn't rocket science. Actually, it's really only extending the "Living Presence" concept of some of the finest stereo recordings to 2 more microphones and channels.

Dave

[colterphoto1]

It's nice to treat ourselves to a gorgeous live sonic experience occasionally, glad you had such a wonderful time Dave. They picked the right guy to put in the 10th row - someone who would fully appreciate the aesthetic and ambience of the room and sound stage. I want to let you know that whenever I'm mixing live and I get a chance (the band, material, and room are conducive) I try to create a beautiful stereo spread for my audience, sometimes it's toms panned medium, with backup singers split slightly L/R to give movement, fatten the image, or add separation. I've recently carefully panned a string quartet playing on a rooftop (no room acoustics to contend with), mic'd an onstage quartet with single condenser (to avoid any unpleasant timing differences caused by multiple mics, attached contact pickups to same quartet playing in a rock orchestra setting so they could be heard above the din. Trust me that some of us do care, especially in live settings. Why the experience seems so difficult to capture for recordings is beyond my comprehension. Our new digital Yamaha has capability to record L/R onto a thumb drive, I'll experiment by recording some live events and report back to you.

[Mallette]

Michael, I'll look forward to what you have to say. If you've not read it before, I'd be interested in your take on this. I went to a lot of effort trying to say up front this isn't intended to be the "sole source of TRVTH" or anything like, but simply to represent what I demonstrated to my own satisfaction as a replicable surround sound methodology. And, like you said, it isn't rocket science and I am as puzzled as you as to the predominance of crappy recordings past and present.

For instance, I am NOT condemning mixers or mixing when I call it "editorial." What I mean is that only a seriously experienced engineer should do it and only when it is absolutely required...which, IMHO, for most purely acoustic space/time events it is not.

Dave

[Marvel]

Our new digital Yamaha has capability to record L/R onto a thumb drive, I'll experiment by recording some live events and report back to you.

Michael... What mixer did you get? We have an LS9 at the school now. Very nice board for the money, even if it only uses 44.1 or 48Khz internally.

Bruce

[Daddy Dee]

David,

Thanks for the review and sharing the experience.

Michael. Most interesting. Very cool what you do.