What instrument do you play and how did it affect your choice in speaker? (1 Viewer)

[JamesDB]

So, to all you musicians out there. Did you instrument of choice affect which speaker you chose to buy?

James

 

[JamesDB]

So, to all you musicians out there. Did you instrument of choice affect which speaker you chose to buy?

James

 

[StephenHa]

not mine, but I don't play that well what made me choose was starting in the car audio field, then working as a sound quality judge at competitions (there are cars out there that rival any home system)

 

[StephenHa]

not mine, but I don't play that well what made me choose was starting in the car audio field, then working as a sound quality judge at competitions (there are cars out there that rival any home system)

 

[ChrisWiggles]

I play the piano, and it lends itself to more laidback speakers. However, it's also an instrument that is recorded in many different ways, so I have my own preferences on how I like pianos recorded, so that probably has a much bigger influence than the speaker. I do overall listening with the speakers, but I always throw in some good jazz with piano that is done well.

I like to use Cyrus Chestnut: earth stories, I like the way his piano is done. I have a lot of other piano stuff, but I prefer the way it's done on his album in particular.

I hate hearing electric piano it drives me nuts. A pet peeve of mine is Chuck Leavelle being stuck with an electric piano on Clapton's unplugged album. I really wish they'da used a real piano.... :frowning:

It's good to listen to live music up close to get familiar with how things are supposed to sound real.

I also like to recommend Danilo Perez for a couple reasons: his piano is done well (I still prefer the even closer/softer feel in the Cyrus chestnut album), but everyone overplays Diana Krall in demos (and IMO she's good but she gets boring too quickly). And Danilo is much more interesting, and is recorded by Al Schmitt, the same guy who does diana krall, and so it's an equally excellent demo, and better music/more fun, and much more interesting.

If you want a really good test of spaciousness of your soundstage, there are a lot of classical piano recordings, and those are usually done mic'd far away, very different from most jazz stuff, and you get huge amounts of room reverb and everything. Totally different piano sound, but on a good setup you can really see the size of the room unfold, it's neat.

But I don't pay that much attention to piano because it's difficult to do right because it's such a huge instrument, and it is presented very un-naturally and in so many different ways. In as many different ways as drums are mixed probably.

 

[ChrisWiggles]

I play the piano, and it lends itself to more laidback speakers. However, it's also an instrument that is recorded in many different ways, so I have my own preferences on how I like pianos recorded, so that probably has a much bigger influence than the speaker. I do overall listening with the speakers, but I always throw in some good jazz with piano that is done well.

I like to use Cyrus Chestnut: earth stories, I like the way his piano is done. I have a lot of other piano stuff, but I prefer the way it's done on his album in particular.

I hate hearing electric piano it drives me nuts. A pet peeve of mine is Chuck Leavelle being stuck with an electric piano on Clapton's unplugged album. I really wish they'da used a real piano.... :frowning:

It's good to listen to live music up close to get familiar with how things are supposed to sound real.

I also like to recommend Danilo Perez for a couple reasons: his piano is done well (I still prefer the even closer/softer feel in the Cyrus chestnut album), but everyone overplays Diana Krall in demos (and IMO she's good but she gets boring too quickly). And Danilo is much more interesting, and is recorded by Al Schmitt, the same guy who does diana krall, and so it's an equally excellent demo, and better music/more fun, and much more interesting.

If you want a really good test of spaciousness of your soundstage, there are a lot of classical piano recordings, and those are usually done mic'd far away, very different from most jazz stuff, and you get huge amounts of room reverb and everything. Totally different piano sound, but on a good setup you can really see the size of the room unfold, it's neat.

But I don't pay that much attention to piano because it's difficult to do right because it's such a huge instrument, and it is presented very un-naturally and in so many different ways. In as many different ways as drums are mixed probably.

 

[James~P]

I play Horn in an orchestra and guitar in jazz/rock groups. This means that I know what real ensambles sound like in many different genres of musical playing. So I went with a speaker that sounded as "orchestral" as I could at the time.

 

[James~P]

I play Horn in an orchestra and guitar in jazz/rock groups. This means that I know what real ensambles sound like in many different genres of musical playing. So I went with a speaker that sounded as "orchestral" as I could at the time.

 

[Kevin C Brown]

Played lots of guitar for a long time. Because of that, I tend to be drawn to bipolar/omnipolar speakers. (Def Tech and now Mirage.) I think they give a better sense of the soundfield that at least this musician was always after.

 

[Kevin C Brown]

Played lots of guitar for a long time. Because of that, I tend to be drawn to bipolar/omnipolar speakers. (Def Tech and now Mirage.) I think they give a better sense of the soundfield that at least this musician was always after.

 

[Craig Chase]

I was a sound man for a lot of bands from 1979 through the early 90's. Of course, this meant an eclectic comraderie with the musicians. It is difficult for the musician to know what he/she sounds like to the audience... so the musician ended up having to trust me. When a singer got TOO cocky... all you needed to do was kill his EQ and Reverb... and he got the point.

Jazz bands were the most challenging/fun, because depending on the size of the room and the instruments, you had to vary what would require the sound system, and what would be played unamplified. But when we were in a large room... as in 3000 people... the entire band was through the system... I preferred EV Horn systems over anything else... because they were (to me) the closest to how the guys sounded in a small room, unamplified. Plus... most of the jazz venues had better bars and women...

 

[Craig Chase]

I was a sound man for a lot of bands from 1979 through the early 90's. Of course, this meant an eclectic comraderie with the musicians. It is difficult for the musician to know what he/she sounds like to the audience... so the musician ended up having to trust me. When a singer got TOO cocky... all you needed to do was kill his EQ and Reverb... and he got the point.

Jazz bands were the most challenging/fun, because depending on the size of the room and the instruments, you had to vary what would require the sound system, and what would be played unamplified. But when we were in a large room... as in 3000 people... the entire band was through the system... I preferred EV Horn systems over anything else... because they were (to me) the closest to how the guys sounded in a small room, unamplified. Plus... most of the jazz venues had better bars and women...

 

[PaulDA]

Having been recorded by my friend in his home studio, and having listened to the raw feed vs. his mastered final product, I have to say that I've never let my ego get ahead of the sound man's after that.

 

[PaulDA]

Having been recorded by my friend in his home studio, and having listened to the raw feed vs. his mastered final product, I have to say that I've never let my ego get ahead of the sound man's after that.

 

[Craig Chase]

Smart man... Those sound guys are pretty rough...

 

[Craig Chase]

Smart man... Those sound guys are pretty rough...

 

[Chris A H]

I was studio vocalist right out out of school, and still teach voice and coach a lot of vocal ensembles. For me, it's all about reproducing the human voice with accuracy and no added coloration.

Also have performed many times with the local symphony (Beethoven's 9th, Handel's Messiah, Mahler's 2nd, etc.) so I know what these should sound like from the stage. I tell you, there is nothing like podium-level sound from an orchestra going full-tilt!

 

[Chris A H]

I was studio vocalist right out out of school, and still teach voice and coach a lot of vocal ensembles. For me, it's all about reproducing the human voice with accuracy and no added coloration.

Also have performed many times with the local symphony (Beethoven's 9th, Handel's Messiah, Mahler's 2nd, etc.) so I know what these should sound like from the stage. I tell you, there is nothing like podium-level sound from an orchestra going full-tilt!

 

[Jim_Ski]

I play guitar, and in my hayday played mostly hard rock or harder rock. Maybe that's why when I read the reviews of Axiom M60ti's being "in your face" I went with them for my mains (and now have a full Axiom setup).

*shrug*

 

[Jim_Ski]

I play guitar, and in my hayday played mostly hard rock or harder rock. Maybe that's why when I read the reviews of Axiom M60ti's being "in your face" I went with them for my mains (and now have a full Axiom setup).

*shrug*