From: Volker Widmann <>
>
> Hi Walt,
>
> your explanation makes absolutely sense!
>
> It explains why people are always impressed when you play them "real"
> stereo recordings, no matter if they are nature or music recordings.
> The feeling of actually being there is hardly ever achieved by studio
> recordings. (The only exception I know, are Mikey Hart's CDs)
> My personal preference apart from the SASS (I have an original one,
> maybe one day I'll have a modified onre) is the Jecklin disk. The
> advantages I see with it is that it can be easily transported in a
> dissambled state including the tripod in a backpack to almost everywhere.
In a sense, most studio folks try more for a feeling that the performers
are at your location rather than trying to transport you to the original
location. Thus the ideal would be a ambiance free mix and your location
would provide the ambiance. Some music I've listened to does this pretty
well. The feeling of they are here is a valid alternative to you are
there. Though it's a more artificial sound.
The they are here approach does not work well when recording outdoor
settings. Our listening locations simply cannot produce the right sort
of ambiance. Thus transporting the listener to the original site. This
is also true of live concert recordings.
I also have a original SASS. If you manage to have a MKH20 modified
SASS, I'm sure you will like it better.
Yes, one of the problems of the SASS, and even more so with the modified
SASS is transport. It's pretty sturdy, but also occupies a lot of
volume. Cases like the Pelican cases don't come in the right shape for
it. The case for the original SASS won't, without a lot of modification,
hold a modified SASS, and is huge. Right now I cart mine around in some
small, light plastic storage bins, not the best but ok for travel with
my truck. I'm always watching for the right size case but may eventually
have to build a case.
Walt
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