[Kele]

Thank you for replies. You are all sound experts in my eyes. Being
without the technical knowledge, my hope is that you can interpret my
simplistic conveyance of my opinion.

When I walk into the mall and hear music playing, I=92ll focus on it and
know if it=92s live =96 sight unseen. As I progress toward the sound (the
central atrium), I become more sure of my guess. Then as I peer down
to the first floor, I see the band playing with PV house speakers.
I=92m hearing amplified (processed) music, but it=92s not as if I were
listening to a recording regardless that I had ever heard the band or
song(s) before. I never heard Floyd live, but Live=92s unique
properties hasn=92t been conveyed by any recording I=92ve heard, to
include all the audio test CD=92s & jazz samplers I=92ve collected via
magazine subscriptions. Maybe my stereo is the weakest link.

Where I live there are numerous sidewalk minstrels of varying talent.
It=92s open air and I=92m able to be arms length from musicians playing
their instruments, even violinists. I=92ve even recorded myself playing
an acoustic guitar. I=92m just saying that we can always get out Live
memory reinforced. I understand what you=92re saying about un-amplified
music as the truest form of live, but either way, I can=92t think of a
time I=92ve been fooled into thinking a recording played back is Live.

In the studio, when you can=92t see whether it=92s live or a recording
being played back, you can=92t tell? I would love to experience that.
I would have to follow that recording through the process (to market)
to identify when and where the change occurs. By change I mean when
the recording no longer fools me into thinking it=92s live. I=92d have to
pitch a fit wherever that transition occurs, intentional or not.
That=92s what I=92m trying to ask of you. I know the post-processing
plays a big part. I=92m thinking that each pass through another board
of electronics impacts the sound thus reducing its =93Liveliness=94 =96 eve=
n
in the digital domain. There must be specific culprits that can be
addressed to help eliminate the recorded sound. Does the industry
share the same equipment? Maybe there is bad-actor sound gear that is
most influential at squashing realism.

Sounds like a light tracking record groove idea has already been made
into reality=85 I didn=92t know. Nor did I know that materials other than
vinyl have been tried. With all the nano-technology being developed,
it seemed a good time to ask the question. Since the audiophile
approved CDs do sound better than most, it does stand to reason that
the major problems are upstream. It would probably be more beneficial
to address those first, or the next medium will continue to suffer.