Shania Twain, Volume levels - assault.

I'm gonna knock on wood, I'm gonna get you good, yea yea yea.

she should get a lyrics prize.

And the band look like the new village people.


You did bad.

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IMHO Shania shouldn't be played at any level.



I am in full agreement but I will wager that her bank balance is higher than mine!!

Regards

NB

Thankyou for the good humour and insightful opinion. And! For the record, what i hope i was getting at is that Naim system usuage/listening has nothing to do - in relation to the music selected - with what is bearable out of a tranny (radio).

Thankyou for t

Mind you lets all be honest, given the chance we 'would'

I've dropped into the aforemention freebie digital channel a few times, and caught Shania doing her latest thang.

I was hooked.

Could it have anything to do with the visual aspect?

But seriously though folks, a lot of modern pop music seems to be engineered to sound better in the car than on the Hi-Fi. (See my thread 'Crap Recordings').

I marvel at what those guys managed to do in days of yore with plate reverb and analogue delay devices. Witness the skill of 'Video Killed The Radio Star' or several 10cc singles.

They seemed to pull out the stops, for recordings that were to end up on 7 inch vinyl singles.

Saw her this evening, lots of sound and she sure scrubs up well.

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Originally posted by timparker:
Any comments please: although i usually listen to chamber/instrumental ie. acoustic, classic music, i thought i liked the raunchy easy style of this voice etc. What a diff. between the radio and Kans speaker presentation. Even at 1/4 amp. volume i was longing for the sound of silence. I just don't understand the ability to listen in a domestic situation to pop music.

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"Such music" is a pretty wide frame of reference when it comes to pop. "You Never Give Me Your Money" from Abbey Road is pop, for example, but if many folk found the music or harmonsing on that grated at anything like high volume I'd be quite surprised.

If you fancy something in a raunchy and easy style in a predominantly acoustic setting then some jazz with a female vocal might be in order, there's a fair bit about that's standards based to the point of moving towrds pop, but still with swing and vitality, and a decent backing band. Try something from Claire Martin, perhaps.

And quite a lot of the rockier end of popular music is designed for volume, and benefits from it, just like a big symphonic finale.

Pete.

[QUOTE]Originally posted by Pete:


And quite a lot of the rockier end of popular music is designed for volume, and benefits from it, just like a big symphonic finale.

Reply: Thanks pete. I think my problem is I have a timidity about playing large forces, whether rock or symphonic works, *at the level they require to be played at* for the simply reason that it is a bit frightening. Let me explain: any sounds emitted exterior to the listening room become for the most part inaudible, do they not? So if the door-bell rings, or someone, forbid, breaks a leg in the rest of the house, one is not likely to know. And what about proximity of telephone land-lines?
Added to these fears is the fact that 1: any demo of music, folk always want the system turned down.
2: Show me a hifi that works at low volumes?
This is why i come back to open-backed headphones for thumping great music, even shania twain, and reserve speaker listening to tinkly little bits of classical ensemble: like a gentle baroque orchestra in the living room or a tinkly harpsichord. Dear help me if i had a big 150 or 250 power amp, or do these work great at low listening levcls with , say Wagner, Bruckner, or Mahler?

Master Parker, if you have headphones someone could be nicking your tele from the sitting rom and you ain't gonna know about it!

Get a phat arse amp and speakers and listen how it should be, Loud and well loud.

But not Terrrrwaaaainnneeeee. Get some good music. And that don't include celine dion.

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Show me a hifi that works at low volumes?

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Tim,

The new Naim line seems to work very well at low volumes. A large part of this may be down to the speakers though (system I heard had SL2s at the end).

Thomas

[This message was edited by Thomas K on SUNDAY 24 November 2002 at 15:53.]

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Originally posted by Nick Lees:
The music. Yes, definitely quite liked the music.

Didn't actually notice what she looked like at all.

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Gentlemen,

this is going nowhere. Clearly this thread needs some visual support. Aren't there any pictures to illustrate these wild claims?

Herman

As requested click_on_this_but_watch_for_RSI

clearly one of those women whose arms are up all the time to support her hair.

Herman

I think the underarm shots are just the pits.

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Originally posted by timparker:
I think my problem is I have a timidity about playing large forces, whether rock or symphonic works, *at the level they require to be played at* for the simply reason that it is a bit frightening. Let me explain: any sounds emitted exterior to the listening room become for the most part inaudible, do they not? So if the door-bell rings, or someone, forbid, breaks a leg in the rest of the house, one is not likely to know.

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This is true, but I don't really have a problem with it! If the 'phone goes and I don't hear it (quite common) then leave a message on the machine. If the doorbell gets missed you can knock on my window, since you'll have just passed the one the noise is coming from behind. But in either case, if anyone really needs to get me and they're trying a few minutes later, I'm likely to hear then. Not playing music in case someone breaks a leg is pretty paranoid unless you're sharing with fragile folk prone to falling a lot.

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Added to these fears is the fact that 1: any demo of music, folk always want the system turned down.

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Maybe you're going to the wrong dealers? This isn't a problem at mine.

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2: Show me a hifi that works at low volumes?

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You've got a basic sound reproduction problem that low frequencies sound relatively repressed at lower than original volume, so the tonal balance will sound wrong. You can get round that with tone control to some extent, but then you fubar something else. If you want accurate reproduction then you need to play at an accurate volume (not too quiet, not too loud either).

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This is why i come back to open-backed headphones for thumping great music, even shania twain, and reserve speaker listening to tinkly little bits of classical ensemble: like a gentle baroque orchestra in the living room or a tinkly harpsichord.

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If you had a baroque orchestra in your living room you'd know about it unless they were all very determined to play pianissimo the whole time. They can fill a good sized concert space, after all.

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Dear help me if i had a big 150 or 250 power amp, or do these work great at low listening levcls with , say Wagner, Bruckner, or Mahler?

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Power is primarily about control (or at least that's the case in a good system). I can make my whole house vibrate with a nait3, it really doesn't need heavy artillery. A NAP500 doesn't have to be run at anything like full power to sound much better though, tighter than you'd believe with everything starting and stopping right when it should. But if you summon up the Valkyries then it ought to be loud: the music is about warrior maidens riding flying battle chargers. If the 'phone goes, they can just charge all over it...

Pete.

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Added to these fears is the fact that 1: any demo of music, folk always want the system turned down.

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Maybe you're going to the wrong dealers? This isn't a problem at mine.

Thanks Pete, extract, re:above.

Actually, none too clearly I was trying to say that demo of my home system often resulted in listeners wanting a far too low volume setting - when i thought the source material was shining at its best! What i suspose is happening is that in my excitement, a lot of audio nasties are still being amplified. I wonder how visitors of Naim systems fare - where musical detail is positively thrown out to the listener!? Anyone still using Spendor bc1's?