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chrille

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  1. Have you actually heard your system against Roy's most recent ? Or are you just envious that he seems to have reached Moksha? Regarding Mokhsa and music listening my current take on it, after a great week of downhill-skiing during which a good friend gave me 6 gigabytes of mainly Indian and other world music, as 16/44.1 wave files, is that in particular Anoushka Shankar's album RISE brings me at least close to Moksha on a daily basis. PURE BLISS via my quite big electrostatic speakers ,my 900 watts per channel amp and mbp via usb and Qutest/HMS/Audirvana. I really wonder if I could be even more amazed and thrilled by her fantastic music than my relatively humble system already delivers? And its freaking rbcd not even hi res! For anyone who wants to explore a bit beyond their Western Pop/Rock Comfort Zone I can very heartily recommend Anoushka Shankar's music. She records among other labels also for DGG and there are some interesting Youtube videos of her playing LIVE at Music Festivals as well. RISE is just one album among several others she has recorded that is imho capable of giving at least ME,a non drug induced REAL HIGH equalled by few other musicians, including her half sister Norah Jones whose music more people are probably a lot more familair with. Norah's music is nice and very good at its best imho. But Anoushka's is on a much more advanced level musically Moksha music. Oops I almost forgot to mention that she plays the Indian instrument Sitar. And one comment about that instrument I've read said." Sitar is an instrument smuggled through Heaven" I'd like to add, here it is played by a Godess Cheers Chrille
  2. Hello again Mario, I have now listened several times to the tracks via two different sets of Headphones the Sennheiser HD 800 and the HIFIMAN HEKV2 and my Chord Qutest/Chord MScaler combo connected to a Benchmark HGC2 headphone amp used for monitoring at quite a few DXD recording sessions I have been at. Both via speakers and headphones your recordings sound VERY realistic and well recorded imho. But my only slight reservation balance wise regarding the slow movement chamber version of Ravel's G major Piano Concerto, still stands via headphones. In both cases if I play the first two minutes of solo piano as loud as I want to hear it both in my room and via headphones it sounds wonderful and almost as if playing in my room via speakers. Very good indeed and very well played too. But when the "orchestra"/winds come in after the roughly two minute intro, the winds several times have a tendency to mask the piano a little bit which to my ears turns from THE solo instrument it should sound like in a Piano Concerto almost to "second fiddle" position. Around the 4 minutes mark I almost get the impression that the piano is accompaning the winds where in the full orchestral version I hear the opposite. Winds accompaning the piano. Those high register piano trills don't quite register as clearly as I would ideally like them to. Here it sounds maybe a bit more like a Concerto for Wind instruments with piano obligato? Small issue maybe for most listeners. But I personally would as I said originally, have placed the winds behind the piano for that track. Or the piano in the middle and the winds on each side to get an even wider stereo image. Imho the piano should at least sound Primus Inter Parus in this case. On the other tracks this is really no issue to me. There the piano is not really the solo instrument. But to be honest rather your setup than a HUGE piano and small orchestra behind so common with some labels. The setup you have chosen is used for a lot of chamber music recordings and works well in most cases and here too apart from in the PC imho. All the wind instruments sound very real with truthful tonality and sonority albeit a wee bit dry, making it very easy to hear which instruments are playing at any given moment. Thanks for a Great Album and all the best for your future productions. Today I'll spend more time on that quite simple yet very beautiful Ravel intro at the piano. PS One last question how high do you put your stereo mics at sessions? Cheers and thanks again Chrille
  3. Yes of course ,but so are the wind instruments. And in my system at least they tend to overpower the piano a bit more than I would ideally like. A direct result of the way they were in FRONT of the piano. Imho there is a very good reason why winds are behind strings in virtually all orchestral recordings. And also why the piano is always put in front of the orchestra in Concerto recordings. You don't really need to spot-mic it if it is placed in front but most engineers do so anyway which often renders a similar effect as the winds do in this recording. Anyway, I am pretty sure this recording is very honest and close to how things sounded live. I just happen to want to hear a bit more of the piano. One way of getting more of the instruments behind others without resorting to spotmiking is to elevate the mics a bit. I don't know how high the mics were in this recording. But I guess a bit too low for my taste in this case. Cheers Chrille
  4. Hello again Mario, and thanks for your reply. My observations made in my listening room and via speakers were not really intended as criticism. It sounds like a very honest non manipulated well made,non compressed recording. But my system and room which is quite furnished with a sofa and armchairs and lots of bookshelves curtains and pillows, adds very little of its own acoustic to recordings so I suspect your recording room is a bit dryish with rather short reverberation time? Or is my guess wrong? And if winds are in front of the piano they will of course sound as being in front of the piano in a realistic recording. I was just mentioning my personal preferences balance wise. I really liked your solo piano recordings too. I will listen to the tracks later tonight via headphones to hopefully get even closer to the actual acoustic of the venue you recorded in. Do you have any photos of the venue? Anyway, wonderful version of Ravel's Slow movement especially. I will use it a LOT to learn how to play it on my own. The intro is soo beautiful and was not too difficult to play for me. Thanks a lot for leading me to it with a VERY good example of how to play it. PS I wouldn't mind seeing your studio maybe this year if you have anything planned. I have photographed for several other classical music labels. I haven't been to Spain for years. With the "Corona Virus" currently hitting Asia I am possibly replanning my travel plans a bit this year. Cheers Chrille.
  5. Muchas Gracias por, the free the download, yes this is the image and soundstage I get via my two big electrostatic speakers in my listening room. But how big is the recording venue? Is the sketch also showing the actual size and proportions of the recordng venue? I get a rather dry, very direct sound almost as if having,especially the wind instruments,actually playing in my room but the piano clearly behind the winds although a bit coloured by the quite dry?acoustic of the venue where you made the recording. I guess it is a very honest sound to how things sounded live. But the somewhat too dry imho recording make the winds a bit too loud and prominent in my room if I want to hear the piano as loud as and close to how my piano sounds live in my room. The winds dominate too much for my taste. I think I would have put the piano in front of the winds if I had made the recording myself, and in a more reverberant acoustic. Wind instruments project more than a piano imho, or maybe I am just biased because I wanted to compare the piano to how my own piano sounds in my room. I'll have to find the sheet music for the Ravel and learn some of it and again compare how it will sound on my piano. Very inspiring to hear it played so well. Cheers and thanks a lot Chrille
  6. Why? I and I guess many other readers here, would be interested to get your take on TT2/HMS and DAVE/HMS! If you still have your TT2 around, I'd be very interested to hear why you upgraded to DAVE. And what you feel you've gained by switching dacs The really weak point with DAVE imho is its insufficient power with demanding headphones like the Abyss and Susvara for example. Another possible drawback with DAVE over TT2 might be the "old" DSD filter in DAVE. DSD via DAVE direct did not sound as convincing as via TT2 or even my humble Qutest in combination with the HMS. DAVE is certainly one of, if not THE most resolving and transparent, consumer dacs I've auditioned with pcm recorded material. But part of its tech is getting a bit old isn't it? And at least without the HMS into the equation my HD800 could sound a bit screechy and overbright directly via DAVE. I'd ideally want the power of TT2 and the transparency of DAVE in one and the same package. I doubt that will happen anytime soon though. But an in depth comparison from you between the two would be more than welcome. Cheers Chrille
  7. Thanks Rajiv! Another very interesting and very well written review! And a nice varied and relevant list of music used too! I'll have to sample some which I don't have already. But I am honestly and a bit impatiently waiting for "this moth to be drawn to the flames" of a direct DAVE/HMS versus Rossini comparison! Now THAT would make for some very interesting reading indeed! Very interesting to read that ,in spite of all its merits ,you are still sticking with your TT2/HMS against the Bartok. On the other hand but with the Rossini still unheard..... What if the most important ingredient is still the HMS and its transformative 1 M taps technology and its 32/768khz against dCS 384khz? If I remember correctly the Rossini is also limited to 384khz pcm isn't it? Within the Chord dac line, Dave's 20 elements dac against TT2's 10 elements could well be one of the reasons why to my ears at least the DAVE/HMS combo sounds notably better and more transparent than the TT2/HMS. But I am still NOT willing to dish out the dough needed for a DAVE to go with my HMS. I just bought a piano last month! A new, in room ,reference point for me. The chords and beautiful harmonies in Beethoven's Moonlight Sonata have never sounded more real in my home, before. Cheers Chrille
  8. Very nice shot! And good composition with the reflections in the water. Makes me regret I sold my motorhome in Canada. The Rockies both in the USA and Canada are wonderful in September October. But I guess you shot it on an iPhone or similar? With lack of resolution and a bit short depth of field, showing a bit especially when magnified. And what's that grey area in the bottom left corner? A bit like a dac without the HMS. Nothing new from Chord at RMAF I guess? Cheers Chrille
  9. With the exception of well done stage directed Opera which is VERY rare these days, and sometimes pianists like Juya Wang or Khatia Bhuniatisvili and conductors whose conducting is interesting to watch, I normally listen to music with FIRMLY closed eyes most of the time. There are some Youtube channels and sites like the GSO LIVE from Gothenburg which I follow quite regularly, but I find it very uninteresting and even disturbing to have to watch close ups of say an oboist with puffed cheeks and a red face and bulging eyes. Close ups of fingering on strings and keyboards or winds and and such can be good, but especially wind players' faces while playing, are normally best seen at a distance imho. Unfortunately it seems far too many sites insist on facial close ups, for what reasons I don't know? Nor am I interested to see the glottis moving in close up of any singer. Regarding Digital Concert Hall I will try a free week again from an offer they sent me recently when the BBC Proms are over. But not a day before! I am fully immersed in the BBC Proms and although it would have been nice to see Juya's fingers o the keyboard in Rachmaninov's Piano Concerto last night I enjoyed her amazing technique fully via headphones and decent SQ via BBC Radio 3. She played the first movement of Gershwin's Piano Concerto live from Schönbrunn Vienna not long ago with the VPO and I have to admit, it was a GREAT JOY to watch. She looked like a playful kitten conjuring musical magic from that Steinway ! I checked out DCH some years ago but was not impressed with their SOUND QUALITY then. I even contacted them and asked why they put all that effort into HD Visuals, but relatively low res streaming sound? The answer I got was that according to their tests nobody could hear any difference between the native 24/96 they recorded at then, and the low res streaming quality anyway! Unfortunately I could. Cheers Chris
  10. The Qutest has obviously just been awarded an EISA award this year. I bought a Qutest last year and I am using it with an Chord Hugo MScaler. To my ears and with my headphones HD800 and HEKV2 the Qutest on its own was a better option for me with a good headphone amp added. Hugo 2 did not drive either of my headphones with enough authority and weight with LARGE SCALE NON COMPRESSED classical music. With an Mscaler added I am closer to both a TT2 and a DAVE/HMS than I would be with a Hugo 2. The Mscaler is imho absolutely essential with all Chord dacs, including DAVE. To me its influence to the end result is so important that I prefer my Qutest /HMS combo over a DAVE on its own. PS it sounds better with a battery powered psu compared to the supplied smps as well. Cheers Chrille
  11. Correct, regarding most of the LSO Live releases.But there are some exceptions luckily. Both Berlioz's Requiem and the Gergiev Mahler 8 I mentioned were recorded live in Saint Paul's Cathedral. But there and where the BCC Proms actually beginning tonight 1930 GMT and running almost daily until early September,are recorded, the acoustic problems are the opposite of the those at the Barbican. Both the Royal Albert Hall and Saint Paul's are huge venues and have very long reverberation times. Cheers Chrille
  12. Well the good thing is it is still there at least. But apart from the place that demos the BIG Avantgarde Horns most others are cramming too much into too small spaces. My favourite showroom in Singapore and one of the few with a very nice dedicated BIG listening room for BIG speakers is AV INTELLIGENCE at Millenia Walk not too far from the Adelphi, 5-10 minutes walk. I'd LOVE to hear the Hugo MScaler and the dacs that go with it via Andy's biggest speakers in that room. Unfortunately I don't think he is selling Chord's dacs yet. But if you're visiting Singapore don't miss his place. Cheers Chris
  13. Well I only have the Solti on LPs and it sounds quite compressed compared to both the MTT on SSF and Gergiev and LSO LIVE respectively. But yes the Solti gets a spin too once in a while. And I guess the Blu-ray has more of the dynamic range of the master tape than what was cut onto the LPs. Another recommendation for Mahler's mighty 8th,would be last year's binaural live version from the BBC Proms if that one is still online? Very spacious indeed. More on the topic of dacs and such, how big or what difference would say there is between the Wave Storm and your Habst BNCs with your HMS/TT2? I am currently comparing Wave Stream and Storm both via headphones and speakers, and I am honestly quite impressed by how much both improve SQ compared to the stock BNCs of my HMS. I did not expect BNC upgrading to make such a big difference as it does to me. PS. I'd be interested in your take on TT2 against DAVE next time. And finally , Have you heard Hariprasad Chaurasia's live performance recording from the Herkules Saal? If not, don't miss it, great stuff imho. And if you ever go to Sri Lanka I can recommend the Ibn Battuta Suite at Cinnamon Rock Hotel in Galle. Cheers Chris.
  14. Like you I always bring my own reference tracks for any serious auditions of HIFI equipment of any kind. Regarding Singapore and the Adelphi which I guess must have been the shopping mall you are referring to,unfortunately it is not quite what it used to be any longer. But there are at least still some serious high quality shops left. One of the so called "dedicated headphone shops"Jaben, even has a desk selling gold watches . And others have noisy coffe machines next to very highend equipment. And only a couple have rooms big and good enough to demo big speakers and an environment suitable for serious listening comparisons. The open doors onto a noisy mall policy, has hit the Adelphi too. Most shops cram too much midfi stuff into a too small room imho. Many of the former HIFI shops have been replaced with hairdressers saloons and specialist dental care and what not. The Adelphi used to be my Temple of Audio worship in Singapore but it has lost some of its former attraction. But yes I too bought my Chord dac from one of its shops and some headphones too. I bought the Hugo MScaler in Malaysia which is cheaper than Singapore on most things these days. The problem with KL is that the shops are spread out over a huge area of Klang Valley. So getting from one good dealer to the next one can take up to an hour of travel. Singapore and the Adelphi in particular, still rules over KL in that respect. PS I did not really expect the PS Audio to beat the HMS either. Nice read though from austinpop again,although I would have preferred more recent hi res symphonic classical music than Solti's Mahler 8? Imho MTT's Mahler 8 with the SSF is a better recording than the 70s DECCA. It is if I am not wrong also a native dsd recording? But he included one of the Nidaros recordings from 2L which I know well enough having spent a week there photographing for Morten at another project with the same forces. On the other hand no mention of native dsd listening material which is what PS Audio is mainly about,right? Anyway his playlist made me curious about both the Ibn Battuta album and the Indian music one. One of my favourite classical Indian Music albums, is the live recording from the Herkules Saal in Munich, with Hariprasad Chaurasia playing his "Magic Flute". Cheers Chris
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