Running further away from Slav’s and Austrian’s “expressed sound” in music, walking across the Brucknerian soft monochromic fields I found myself lately to have very different interests in the sound that I am after. Well, I know how to make good sound, let not to be too modest – whoever was in my listening room last year and hit the “good electricity period” know that I am not just running my mouth. However this sound has own hated by me Mahlerian expressiveness. It just depicts all possible existing the recording moments in their most desirable way, the desirable in trims of listening experiences. I admit that it is an accomplishment itself but during the last year six month my interests shifted in different direction.
I almost seen myself if not a conductor of the music the I play but at least a coordinator and organizer- ether way I see myself as a person who utilizing my audio methods is responsible for how music would be played in my room. Playing music on my audio lately shifted on two major segments – live music from FM and playing my CD/LP. In term of audio the live FM gave me mostly the “music of Mahlerian expressiveness”. I do very little to think about “conducting” or organizing this music. I take that sound “as is”. However, the other my listening- from my CD/LP is a maters of totally different intention – this music I listen with very deep and purposeful intention and while I do so I am looking for other meaning of Sound and Audio expressiveness.
The CD/LP that I listen are practically never the Mahlerian colorful music but mostly the recordings from 20s to end very end of 40s, with 1939-49 being the most interning years. I would like to live aside all aspects of good conductors sand phenomenal players and to look only at the pure audio elements of sound. Good, how good is it! I do feel that in sound of heavy saturated tapes of Koussevitzky and Furtwängler orchestras lives more “information” then in well-bread sound to better orchestras of today. This is not only attributing to the great contactors and their given interpretations but rather an argument that their Audio Sound was more potent.
I have a lot of ideas on the subject and one of them is a concept of “Rational Masking” or something that I call more generally as “Implied Sound”. The “Rational Masking” is a situation when audio element intentionally blurs specific aspect of audio presentation, implying that there are hidden elements out there. That yanks listening perception and it is incredibly powerful and tool as it teases listening awareness, forcing it to become from a passive consumer of event to an active collaborator of event. Remember how attractive and swallowable a naked woman looks in her panties and how less exiting she might look completely naked? The “Implied Sound” works in the same way. Surely, to implement within a playback an active “Rational Masking” mechanism is incredibly difficult but we have where to learn – the recordings from 40s.
This is very much not another idiotic thread about resolution vs. musicality. The “Implied Sound” has no relation to ether of them. There is however an interesting catche in there. The “Rational Masking” mechanism might be “engaged” but there is also a mechanism of “fantasies catalysis” and some other sides of audio do have some control over it. Did I say too much or too little? You decide…Rgs, Romy the Cat
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche