A Copernican View of the Turntable System

Raul,

I totally agree and, I suppose, have tried to suggest some of that in my comments. I suppose I did not really note the importance of differences between the individual listening room and concert hall on scale/volume and acoustic behaviour and how this alone impacts on attempts to exactly reproduce the live experience of a large number of recordings. I have tried to reflect on this on other threads but not so well in my above outburst, which was fueled largely by tiredness and irritability I think.

Nevertheless, my views that there are clear distinctions and that there are inevitable psychacoustic factors when reproducing performances through hifi are getting form and clarification through some of the interesting responses that it is raising and yours is a well considered and much appreciated one.

Many thanks again

Raul,

Just to add that I am aware that I have drifted somewhat from your response in my reply but would note that my comment is based on my slight preoccupation with acoustic spaces and psychoacoustic factors.

I think the issues of distinct venues and quality of performances on distinct occasions still undermine my moments of certainty that I have captured "a" live event. This rears its head in my concern over distinction between listening rooms and performance venues in my reply. Of course, as your response points out, that is only one aspect to consider when addressing the authenticity of our hifi experience.

Pryso,

Thanks for your valued reflections. I think they develop another dimension of Raul's reference to the distinction between the close mic'ed recording (as relayed to the home stationed audiophile) and the sitting position of the live spectator. I slightly drifted from the point in my initial reply to Raul. However, I find it fascinating.

I'm not sure who came first, HP or Martin Colloms, but the issue about soundstage as a criteria for judging ones hifi has been a fairly standard one since them. I do think your reflections on the importance of sitting position are critical for the general issue of perceptions of staging.

Beyond that, I think that your reflections on the impact of new recording techniques (some popular experiences of which I am still recovering from) provide much food for thought.

Might oak trees for small acorns (rants) grow.

Thanks

Pryso,

Apologies, it should have read: "Mighty oak trees from small acorns (rants) grow".

I tend to be posting before 7am local time and I think this is affecting things. Apologies and thanks again.

ArmPod Instructions - 1,2,3

This is for those that have been reading this thread, are interested in trying this out, but may need some help with it.
I have put together a short document to help with it. You are welcome to it - just send me an email and I will forward you a copy.
It covers.

1) How tall does the armpod need to be.
2) What shape do you want your Arm Pod to be ?
3) Acquiring materials
4) Tools for Holes
5) Drilling Holes on Metal
6) Assembling the ARMPOD

Thx for the pre-edits and feedback Banquo.

This project rates a 3 / 10 difficulty - about the same as assembling IKEA furniture, will cost you $100 and can get completed in a weekend. You can even get someone else to do the drilling of holes for you. I bet you will be so happy with it (sonically) that you may not even want a more expensive one unless you need some eye candy.

I was going to put some bullets into a post here but quickly realized that wasn't going to cut it.

Cheers Chris