skatbelt Posted February 6, 2017 Share Posted February 6, 2017 Why is it that bass (in particular the instrument itself) is not taut/tight on a lot off older jazz recordings? Often it sounds bloomy and hard to localise in the soundstage. At first I thought it was because of acoustical problems in my room but then I discovered the same 'issue' when listening via my headphone amp / headphones. Is it because of the limits of recording equipment in those days? An example: Cannonball Adderley (with Bill Evans) - Know what I mean? The sax and piano sound stellar on this album BTW. Streamer dCS Network Bridge DAC Chord DAVE Amplifier / DRC Lyngdorf TDAI-3400 Speakers Lindemann BL-10 | JL audio E-sub e110 Head-fi and reference Bakoon HPA-21 | Audeze LCD-3 (f) Power and isolation Dedicated power line | Xentek extreme isolation transformer (1KVA, balanced) | Uptone Audio EtherREGEN + Ferrum Hypsos | Sonore OpticalModule + Uptone Audio UltraCap LPS-1.2 | Jensen CI-1RR Cables Jorma Digital XLR (digital), Grimm Audio SQM RCA (analog), Kimber 8TC + WBT (speakers), custom star-quad with Oyaide connectors (AC), Ferrum (DC) and Ghent (ethernet) Software dCS Mosaic | Tidal | Qobuz Link to comment
sphinxsix Posted February 6, 2017 Share Posted February 6, 2017 Recording room acoustics. Or added reverbation. A bigger distance between the instrument and the microphone. One can enjoy bass recorded that way though IMO - I for example like bass from Miles' 'Kind of Blue' - it was recorded with added reverb (echo chamber, want to know more - check out this https://www.amazon.co.uk/Kind-Blue-Making-Miles-Masterpiece/dp/1862075417/ref=sr_1_2?s=books&ie=UTF8&qid=1486385732&sr=1-2&keywords=davis+kind+of++blue) - it actually is one of my test recordings for bass Link to comment
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