Dynamics - What have you done to approach live sound

[Wrinkles]

While giving my daughter away in a marriage ceremony this past week in Queens, I visited a Jazz club in Manhattan. The band played Caribbean Jazz.

So, what do you think?

Thanks

I think that you should have stayed for the whole wedding, at least the ceremony. Did you make it down the aisle or did you actually leave while giving her away?

Listening to live music for audio quality is really limited to orchastra music and accoustic performances. Otherwise, you are listening to a processed signal through speakers, and in almost every case, you have better equipment in your living room (especially with the speakers that you have).

How about this, does the hair stand up on the back of your neck when you listed to a well recorded recording? probably a better test of your enjoymnet of the system.

Edited June 10, 2014 by Wrinkles

[oldtimer]

A typical crash cymbal is 16 to 18 inches in diameter. It is used like it sounds. To make a crash by being sharply hit. But not always. Any cymbal can be used with any technique. Crash cymbals are also good for coming up to full excitement quickly by rolling, either with sticks or mallets. Ride cymbals are thicker to produce the penetrating ping sound associated with a continuing beat. When rolling them they don't produce as many overtones as a crash, because they are designed to produce less overtones in order to penetrate with a defining beat. Orchestral crash cymbals are two cymbals with strap handles that are struck together to make a crash. They have the overtones of a kit drummers crash but are heavier so they also cut through an orchestra like a knife. To the player, cymbals ring forever. Out in the audience, the initial attack and overtones are heard but the decay is much faster. The accomplished player knows how to phrase with the music, cutting off the sound completely. This is actually written in orchestral works and the percussionist is expected to do it. In more informal settings such as rock and jazz, you will see some damping and some just let it ring depending on the music's demands and the preferences of the group.

So they are complex radiators of sound chock full of overtones.

[Khornukopia]

Saturday night I was the guest of an invited guest at a fancy party with live entertainment. When the first band finished and the stage hands were moving things around for the second band, the sound man played some CD music through the expensive pro speakers. While that music sounded great on its own, there was a big difference in the fullness and impact between the recorded music and the sound of the two different live bands played through the same speakers in the same room. It seemed that the recorded medium was a limiting factor in the dynamic range.

There is a lot of good knowledge and advice in all the posts on this thread about getting the most from your home stereo, and one point I like is about wanting the home stereo to sound better than live music, in the sense that it is not as raw and loud, but has finesse. As much as I enjoy the energy of live music on a frequent basis and having a powerful home stereo, I also like my home listening to be "comfortable".

[oldtimer]

OK.

[NOSValves]

With that said no I do not want it to make studio recordings sound like live events..

That would be a contradiction in terms, and, by definition, inaccurate. While I know this is something you of all people understand, many here do not: A system should be transparent. It should not make a recording "sound" anything but what it actually is.

It's the engineers job to ensure that whatever he has recorded is precisely what he intended (in the case of a studio recording) or as close to the acoustic space/time event as possible (in the case of a live recording).

Dave

Dave, I see no contradiction in what I stated..not sure if my craiglish is causing confusion or what. To be clear: I said I do not want my system to alter studio recordings to sound like live events.

[mark1101]

I don't know how you can "approach live sound"..........without playing "live" recordings.

How do you approach "live" sound with studio recordings?

I agree with Craig............the other thing I suggest is to move your speakers outdoors.

I do this almost every weekend. I have a pair of "outdoor" vertical cornwalls that I restored to electrically excellent with some exotic DeanG networks and replaced diaphragms. The cabinets are near destroyed. These are the biggest Klipsch speakers that I can still pick up and carry by myself........so that's what I use.

I actually have marked lines on my basement outdoor patio (below my deck) where the cornwalls sound best and so I can repeat the exact placement every time.

I have a Deluxe NOSValves HH Scott LK-72 with long wires (50 ft.)..........and I just put the corns out there on the patio under the deck............and I approach "live" sound. It's pretty simple.

A lot of suggestions so far are really good but have been about achieving better sound in a room, and such...........anyhow..........I play live music almost exclusively. I rarely play studio recordings anymore...........so I'm a "live" sound guy.

By the way............when you play Klipsch speakers outdoors............there is nothing that beats that in my book. That's the best I can get them to sound. I'm lucky, there is no one around me and I can play at any volume as well. So I enjoy the outdoors and really do approach "live" concert sound.

But it helps to have a lot of good live recordings.

I purchased the entire 2004 Dead Summer Tour package..........35 Dead shows with Warren Haines as "Jerry"..........the last time the whole band was together. These are fine recordings and to hear them outdoors sounds "real" to me. I was at a few of those shows...............Just an example of what I mean to try and approach "live" sound.

Edited June 17, 2014 by mark1101

[Schu]

I think there is a distinct line that needs to be driven home... Live Acoustic sets are VERY DIFFERENT in sound quality and presences than live mic'ed and amp'ed sets.

[Chris A]

I don't know how you can "approach live sound"...without playing "live" recordings...How do you approach "live" sound with studio recordings?

I agree with Craig...

I also agree with the above,

Edited June 17, 2014 by Chris A

[mark1101]

I think there is a distinct line that needs to be driven home... Live Acoustic sets are VERY DIFFERENT in sound quality and presences than live mic'ed and amp'ed sets.

Not sure what you mean by LIVE ACOUSTIC SETS...........unamped? If so, I'd say the room is a major factor then............which changes everything when it comes to the recording.

Acoustic instruments that are mic'd and amped, or that have electric pickups............and are then plugged into the board have no "room" associated with their sound.

So I agree that the experiences are completely different.

In our church we went from mic'd and amped instruments with stage monitors (which added a lot of blow back sound to the room from the stage)..........to virtually no stage sound at all using in ear monitors and "plug in" insturments with pickups. I control the entire room sound from the board through the mains............much better..........much more control..........happier attendees.........many compliments............no feedback.