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Post by scott on Sept 26, 2007 7:29:21 GMT
Not heard any Bruce Springsteen for ages and last night put on the Live 5 Album boxset from the end of the 80s....put me in such a good mood...and made me realise i had not been to a live concert for a couple of months.In Cologne there are at least 20 small venues(pubs and small clubs) where for very little cost you can listen to punk/rock/soul/pop most nights of the week...gonna drag my girlfriend out this weekend and go to the Sonic Ballroom to watch some cheap and cheerful Punk bands(the last time i was there the Band was pretty dire and halfway thro the set the lead singer put on a Horse Head mask on!!...unfortunatly it did not help his singing) i also dragged out some of the live lps i have to have a listen too this week U2 Rattle and Hum Ramones Live Alive Simple Minds In the city of light The Who Live at Leeds The Clash Live on Broadway Frank Zappa Shutup and Play jer Guitar Status Quo(the Metal Box NEC Album) Lou Ried Rockand roll animale Johnny Cash St Quentin The Jam Dig the Wild Breed
What about you guys...any favorite Live Albums knockin around in your collections??
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Nigel
Been here a while!
Watching over Gotham City keeping us safe
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Post by Nigel on Sept 26, 2007 9:01:23 GMT
Scott,
I prefer studio albums personally but The Who's "Live at Leeds" & ELP's "Pictures at an Exhibition" are two of my favourites.
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Post by serverbaboon on Sept 26, 2007 11:59:38 GMT
I tend to prefer studio albums but the live albums I like are.
Portishead - NYC Talking Heads - Stop Making Sense (Although I think some of that is due to the movie) Bob Marley - Live (at the Lyceum) Nirvana Unplugged Johnny Cash - Live at Folsom/San Quentin U2 -Rattle & Hum
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aman
<100
Not a woman
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Post by aman on Sept 27, 2007 22:43:22 GMT
James Gang - Live in Consert
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Post by scott on Sept 29, 2007 14:50:19 GMT
Just having a listen to Zappa Shutup and play yer guitar Album.....mega....if you like guitars you have to have a listen!!
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Post by 2knowtalent on Oct 4, 2007 20:01:03 GMT
Just having a listen to Zappa Shutup and play yer guitar Album.....mega....if you like guitars you have to have a listen!! If you like Zappa when he was wielding the mighty SG then checkout "Roxy and Elsewhere" AND "The Best Band You've Never Heard in Your Life". side 2 of "The Best Band..." start listening from "The Torture Never Stops; Part 2"...it's some of the most inspired guitar noodling I've ever heard. His tone is greasy, fat and glassy. Another tone-meister is Michael Landau. Most of his live stuff smokes ...don't miss "Live and Lit" from his Burning Water days! additional live favorites are... Dire Straits "Live at the BBC" Allman Bros Band "Live at the Filmore" Patricia Barber "Live: A Fortnight in France" Robin Trower "King Biscuit Flower Hour" Lee Ritenour "Alive in LA" Big Head Todd & the Monsters "Live Monsters" & "Live at the Filmore" Diana Krall "Live in Paris" Elvis Costello & Bill Frisell "Deep Dead Blue" King Crimson "Absent Lovers" Bob Seger & the Silver Bullet Band "Live Bullet" Fleetwood Mac "Live at the Boston Tea Party"...Peter Green days Karizma "Document" ...a pop jazz fusion Michael Landau effort Iggy Pop "King Biscuit Flower Hour" Paul Butterfield & Better Days "Live at the Winterland" Paul Simon "Live in Central Park" Bela Fleck & Flecktones "Live Art" James Gang "Live in Concert" ...Joe Walsh kicks ASS Bill Evans Trio "Sunday at the Village Vanguard" John Lee Hooker "Live at the Cafe Au Go-Go (and Soledad Prison)" Ralph Towner "Solo Concert"
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Post by charleyphogg on Oct 7, 2007 3:34:04 GMT
Just having a listen to Zappa Shutup and play yer guitar Album.....mega....if you like guitars you have to have a listen!! If you like Zappa when he was wielding the mighty SG then checkout "Live at the Roxy" AND "The Best Band You've Never Heard in Your Life". side 2 of "The Best Band..." start listening from "The Torture Never Stops; Part 2"...it's some of the most inspired guitar noodling I've ever heard. His tone is greasy, fat and glassy. Gotta agree with those 2, especially Live at the Roxy. Also have to add Live in New York, doesn't matter which version, but the one with The Torture Never Stops is my fav of the 3 or 4 different versions. Also I don't think it's live, not that it matters, But I beleive Shut Up and Play Yer Guitar is a collection of live solo's that Frank totally re-did in the studio. As to to the ELP mention... I must mention Welcome Back My Friends to the Show That Never Ends Allman Brothers Band Live at the Filmore East Grateful Dead Live at the Knick ****Al Kooper Soul of a Man , wow!
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Post by scott on Oct 8, 2007 19:58:02 GMT
Ive got PIL Live in Japan coming in the next few days...just in time for the sex pistols reunion tour i also found buried in the LPs James Brown Live at the Apollo and Simple Minds in the City of Light and Maze live in LA...keep the live album recomendations coming
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Post by serverbaboon on Oct 9, 2007 20:43:44 GMT
Just remembered 'Under a Blood Red Sky' - U2
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toad
Been here a while!
I am the Super Toad, the Original Toad, the Whole Toad and nothing BUT the toad.... don't forget it!
Posts: 1,223
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Post by toad on Oct 25, 2007 10:36:25 GMT
Metallica S&M
Metallica + The San Francisco Symphony Orchestra.
OK, Heavy Rock and Orchestra. It's been done before but never pulled off quite like this.
Awesome!
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rickcr42
Fully Modded
Rest in peace my good friend.
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Post by rickcr42 on Nov 18, 2007 0:04:08 GMT
add Ted Nugent's "Double Live gonzo",Rare Earth's "In Concert" The LP version actually opens up like a freakin' rucksack Frampton comes alive (though i have to say I like his Humble Pie day music better ) I actually like live albums though many are recorded badly but NOT over headphones ! Strickly loudspeakers and that only in "quad" using a David Hafler Dyna-Quad type matrix for the rear channel to extract the natural "hall" ambience present in all live recordings that have a room large enough or enough reflective surfaces to bounce an out of phase "ambient" signal back to the open mics.Once you have a so called diffuse soundfield in your room to expand the boudries you may rethink how these recordings sound......
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Deleted
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Post by Deleted on Nov 18, 2007 0:45:17 GMT
"Strickly loudspeakers and that only in "quad" using a David Hafler Dyna-Quad type matrix for the rear channel to extract the natural "hall" ambience present"
Ain't necessarily so my friend. ;D Some amplifiers are capable of giving a pretty fair "surround" effect from decent front speakers only. It's all about linearity, phase response accuracy, and good separation, combined with high S/N ratio. Naturally, you also need a decent CD/DVD player/DAC as well. Minimise reflections from the front wall too
SandyK
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rickcr42
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Rest in peace my good friend.
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Post by rickcr42 on Nov 18, 2007 1:06:58 GMT
BZZZZZZZZT ! WRONG ANSWER ! I am talking about an actual recorded signal that can only be extracted with a L-r matrix (same as dolby surround) and not 'simulated ambience" as is perceived through a 2-CH setup. you could mix the L-R back to the L and R front thus use a stereo speaker setup but you will lose the perspective of absolute size of the venue due to all the information and content coming from the front only (not to mention some cancellation-reinforcement of various frequencies i.e. "comb effect") where such would not be the case at a live event
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Deleted
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Post by Deleted on Nov 18, 2007 1:55:00 GMT
Rick I have previously constructed, and used a full SQ surround system with extra "logic steering I.C.s",(as well as the Hafler method) in conjunction with some pretty decent SQ vinyl recordings from the likes of Enoch Light etc. Surprisingly, it is possible to extract quite a bit of the original listening experience with a high quality playback system from the CD version of the orignal quad album. It can never of course, sound as good as the original full logic controlled setup.Some CD (and vinyl) Live recordings such as Neil Diamond's "Hot August Night" have a surprising amount of ambience present.(and depth of image) SandyK
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rickcr42
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Rest in peace my good friend.
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Post by rickcr42 on Nov 18, 2007 10:09:23 GMT
Rick I have previously constructed, and used a full SQ surround system with extra "logic steering I.C.s",(as well as the Hafler method) in conjunction with some pretty decent SQ vinyl recordings from the likes of Enoch Light etc. Surprisingly, it is possible to extract quite a bit of the original listening experience with a high quality playback system from the CD version of the orignal quad album. It can never of course, sound as good as the original full logic controlled setup.Some CD (and vinyl) Live recordings such as Neil Diamond's "Hot August Night" have a surprising amount of ambience present.(and depth of image) SandyK apples and oranges man,no relationship between any of the above other than being multichannel 1-Quad was an "effect" not musically relevant so matter if it was SQ,QS,EV44,did or did not have steering logic or was full discrete (not matrixed) CD-4 LP or tape it was unnatural except as a means to show off the medium 2-Full logic used for a recording already having ambient information as it would if a live recording is again adding an "effect' because NOW you are also adding electronics to the original signal thus modifying it so while you get more front/back and right rear/left rear separation you also comprimise the natural decay of the recorded signal that because it was recorded n an ambient field is already there as an unintended "stray" that has already travelled a distance (venue size),has hit a back or side wall (or both) then travelled back to the microphones out of phase where it is again picked up by the open microphone. This is the very bassis of multichannel audio and why no matter how many times "they" try to ram it down our throats it NEVER works for music and why it works great for intentionally coded movie surround FX. Our brain KNOWS the signal is fake unless there in the actual performance so it is tiring yet because movies are a visual medium a multichannel soundtrack is an enhancement to what we are "seeing" and since we already know THAT is not real plausible to our brain so we sit back and go along for the ride. The difference between "ambience extraction" and "ambience simulation" is as day and night as real is to fake and another reason why Dolby Headphone sounds fine with DVDs but seriously flawed with music CDs.If the engineers ever sit down and just THINK for once in their lives they would realise the only path to multichannel audio that would ever be truly accepted is one that is already inherent to the performance rather than one created in the studio unless they actually model a specific venue as the "room". Instruments do NOT jump up from behind you at a live performace unless there actually IS a performer in the audience as well as on stage.Multichannel audio should expand the listening room size not the size or placement of the performance At least that is my opinion and I'm sticking to it ;D
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Deleted
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Post by Deleted on Nov 18, 2007 10:25:41 GMT
"Instruments do NOT jump up from behind you at a live performace unless there actually IS a performer in the audience as well as on stage.Multichannel audio should expand the listening room size not the size or placement of the performance
At least that is my opinion and I'm sticking to it " Rick 100% agreement with that.
What I am saying is that with a well made recording, using decent electronics and Stereo speakers ONLY, you are able to expand the listening room size,not the size or placement of the performance.
SandyK
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rickcr42
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Rest in peace my good friend.
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Post by rickcr42 on Nov 18, 2007 10:53:42 GMT
What I am saying is that with a well made recording, using decent electronics and Stereo speakers ONLY, you are able to expand the listening room size,not the size or placement of the performance.agreed but justlike a mid bass "hump" in a bass shy speaker is no match for a true low bass driver (you gotta move air to make bass bubba ) everything to the front (stereo) will never be as effective as front speakers for on stage and rear speakers for soundfield (rear speakers added) just like for that matter no sealed cans (or for that matter most open cans) without crossfeed assistance will EVER even recreate stereo let alone an ambient field. Just not a physical possibility due to the head being in the way and there being no right ear piece/left ear piece bleed through as per the stereo spec making headphone ambience even MORE of a bitch to get right ! There needs to be a diffuse sound field that envelopes the listener to where he is immersed in the crowd/audience and that can not have "gaps" or the illusion collapses so in the case of open air speaker listening you need multiple speakers and in the case of a closed in setting like headphones the "illusion" of multiple paths and that means either moving the stage image FORWARD (crossfeed) and aiming the L-R signal right at the ears or keeping the stereo image as it would normally would be then using an electronic delay for the L-R to move it "back". option "A" sounds natural but causes some spectral distortions while option "B" maintains the spectral response but sounds artificial in the ambient field and why headphone surround for other than movies never really caught on. I use/designed a device that works as well as anything else i have heard for headphone "surround" that is a 100% passive device other than the impedance matching buffers at the output to allow it to drive the headphone amp (High-Z network ) that uses option "A" and but that has a separate mode for movie listening because the truth is the requirements are TOTALLY different for movie or music surround so while you do want a forward shift for movies you DO NOT want an crossing of the left and right rather you want instead a palpable center dialog channel to lock the onscreen center. Where this "illusion" of movie surround falls apart is when you look left or right because the soundtrack moves in that direction while the visual cues remain stationary-very fkn weird and why i expect we will eventually see dolby headphone with "Head Tracking" but only for movies bubba.For music it does not matter because everything is in your head anyway so there is no discontinuity between what your eyes see and what your ears hear and in fact works best EYES CLOSED
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Deleted
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Post by Deleted on Nov 18, 2007 11:24:08 GMT
Rick Did you see the thread "X-Mix volunteers" in DIY p.2 ? May be of interest Alex
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rickcr42
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Post by rickcr42 on Nov 18, 2007 12:20:48 GMT
Rick Did you see the thread "X-Mix volunteers" in DIY p.2 ?No.Not until now that you brought my attention to it.One of those "took place during my recent AWOL so doesn't count" thingies May be of interest AlexIt is.will have to weigh through the entire thread to make any definitive statements here or there but essentially a headphone crossfeed performs two functions ; 1-Frequency selective cross blending of the left and right signals to simulate the natural blending that takes place in the air between your left and right loudspeaker and that can not take place between your left and right ear-cup with headphones because your head is in the way and-this is a high pass filter and resistor blend circuit 2-A forward shift in the image to simulate the performance coming from in front of you as it would for any live performance and as it would be with most (read NORMAL) home loudspeaker systems-this is a "EQ" type circuit with a particular time constant to change the apparent position of the image Being that both are "sum" type circuits there is/will be a certain amount of comb filtering due to the losses in some frequencies where the "sum" is really a "difference" when blended and reinforcement of others where the "sum" is truly that and as such "ADDS" which then causes a lumpy signal better known as a "comb" filter due to the peaks and valleys so a tall order to get the good with as little bad as possible or in short-not a perfect solution but A solution to a known problem for that reasona "mild" effect is best and so not as readily apparent until you turn it off and realise the soundfield field collapsed tothe sides and the signal is again dead left-dead right though not so IN YO FACE as to be a major shift-done right For movies you want to eliminate the "crossing" entirely because you want the lateral spread to be as wide as possible so you can introduce a center dialog channel that fills in the "hole" but that will retain an off screen left or off screen right signal and track it as it goes from left to center to right (ot vis-versa ) and with the "rear" FX channel ideally being shifted 30 degrees back though not critical if you get the forward shift right then add some phychoacoustic EQ to shift the signal "up" just a tad since it seems ALL rear located sounds "seem" to sound higher than they really are even if the original sound is ground level such as someone dropping a large coin behind you. at first you hear it as a high and back sound,you turn to look at it (we can't help but look at dropped money ) at which time we look down even though the sound never was low-fkn weird but how this sh*t works for music we DO NOT want distinct directionals but rather a diffuse field where there is more of a seamless immersion in the sound field instead of the distinct directional cues as with the above because the stereo signal either over loudspeakers or with crossfeed over headphones is already diffuse in the lateral plane left to right with only a front to back dimension being left to complete the illusion if the signal is one that is recorded in a naturally large space but that sounds more than artificial if not as with a studio recording or worse,multitracked studio recordings however-since even thses are mixed specifically for loudspeaker use and in fact are monitored with speakers for the final mix the only way you get accuracy with headphone monitoring is to emulate the speaker and that means a crossfeed imperfect as it is. Remember dude.we are not analyzing the music but listening for enjoyment (or should be) so it is more about a "whole" performance which means no gaps or distinctions not intended in the mix than it is "jeez i can hear everything dead left and dead right ! What great separation i have" which has zero to do with the reality of what the engineer heard when he mixed the master because NO WAY does anyone mix "center stage' to mean "inside the middle of my head"
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