Nachklange aus dem Theater
Posted by: Massimo Bertola on 27 February 2009
I've just got back home from a concert of solo piano by the jung Bojan Zulfikarpasic. It was an odd concert, meaning that no two even rhythms were played in two hours. A curious, stimulating melange of strict jazz and balcanic joyfulness.
While enjoying the music, I concentrated on the sound of the piano, and I once again realized what was in it that made it sound live - just don't laugh at this.
First it was the silence/sound ratio, which is the maximum when you have actual silence and actual sound; then, of course, the attacks, the decays, the dynamics and the lack of distortion.
I lazily speculated - between an odd rhythm and another - that even though I still think it senseless to pursue the perfection of reproduction, it is probably very likely possible to succeed in demonstrating reproduced sound that appears indistinguishable from live; and caught typical piano sound traits, among which the squeaking, trumpet-like mediums that erupt incessantly from it, and that probably would be accurately eliminated from a hi-end recording. And I realized that those lively, slightly blatant mediums bearing no trace of inflated mid-bass are exactly what characterizes my system's sound; and I can say once more that Naim gear get the closer to the character and nature of live sound I know so far.
(Nachklange aus dem Theater - Impressions after the theatre - is the title of one of the pieces in Schumann's >Album for the young<
While enjoying the music, I concentrated on the sound of the piano, and I once again realized what was in it that made it sound live - just don't laugh at this.
First it was the silence/sound ratio, which is the maximum when you have actual silence and actual sound; then, of course, the attacks, the decays, the dynamics and the lack of distortion.
I lazily speculated - between an odd rhythm and another - that even though I still think it senseless to pursue the perfection of reproduction, it is probably very likely possible to succeed in demonstrating reproduced sound that appears indistinguishable from live; and caught typical piano sound traits, among which the squeaking, trumpet-like mediums that erupt incessantly from it, and that probably would be accurately eliminated from a hi-end recording. And I realized that those lively, slightly blatant mediums bearing no trace of inflated mid-bass are exactly what characterizes my system's sound; and I can say once more that Naim gear get the closer to the character and nature of live sound I know so far.
(Nachklange aus dem Theater - Impressions after the theatre - is the title of one of the pieces in Schumann's >Album for the young<