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Joined: May 2005
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A well thought out and very musical interpretation of this beautiful work. You do so many things extremely well here. I did miss hearing several notes in the LH (could be the recording or whatever). Also - the polyrhythms in measures 49-56 and 65-72 could still use a little more work. I'm sure you are aware of this, however. Thanks for sharing !!
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Hakki--
I am curious. Are you perhaps confusing "normalization" with "compression"? It is my understanding that compression can kill dynamics when used improperly, while normalization does not.
--Andy No I mean normalizing. The stereo image is formed by the pressure differences of the xy mics of the Zoom H4. It is crucial to preserve the balance between channels. Since Zoom is a quality device no DC offset is expected. Bruce should simply use an amplify effect to increase the levels of both channels exactly the same preserving the balance.
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Joined: Apr 2007
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Hakki--
I am curious. Are you perhaps confusing "normalization" with "compression"? It is my understanding that compression can kill dynamics when used improperly, while normalization does not.
--Andy No I mean normalizing. The stereo image is formed by the pressure differences of the xy mics of the Zoom H4. It is crucial to preserve the balance between channels. Since Zoom is a quality device no DC offset is expected. Bruce should simply use an amplify effect to increase the levels of both channels exactly the same preserving the balance. I agree that normalizing isn't necessary or desirable in classical recording. In fact, there should be very little needed when using the Zoom if you have the placement where you want it. I have found putting the unit on a mic stand and placing it above my head gets the best sound, but experiment with having it in different areas to see what sounds best for your instrument and room.
private piano/voice teacher FT
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OP
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These are all interesting observations about "normalizing" or not "normalizing."
Funny how we - should I just say "I"? - sometimes get into a rut that works without experimenting to see if stepping out of the rut works better. I had always been told that, when using the Audacity program, one should normalize the recording primarily for satisfactory playback volume, particularly for transfer to CD. Accepting that as the norm, I've not experimented with doing anything else.
I'll listen to the "non-normalized" version and, apart from drop in volume level, if I hear any marked difference in sound quality I may post that version.
Thanks for all your input.
Regards,
BruceD - - - - - Estonia 190
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Here is another recording of someone who was not coached by Brahms. I just heard this for the first time, and it very similar to the way I play this piece, arpeggiation and all. Please listen to the "Bel Canto Aria" approach this pianist takes to the work. That means, it sings and it has the elasticity of movement the OP's recording does not. It is called Brahms! http://www.youtube.com/watch?v=0u9P2WO9Ok0
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Here is another recording of someone who was not coached by Brahms. I just heard this for the first time, and it very similar to the way I play this piece, arpeggiation and all. Please listen to the "Bel Canto Aria" approach this pianist takes to the work. That means, it sings and it has the elasticity of movement the OP's recording does not. It is called Brahms! http://www.youtube.com/watch?v=0u9P2WO9Ok0
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Here is another recording of someone who was not coached by Brahms. I just heard this for the first time, and it very similar to the way I play this piece, arpeggiation and all.
So why must we put up with a cheap imitation of your playing from Gieseking? Post!
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Here is another recording of someone who was not coached by Brahms. I just heard this for the first time, and it very similar to the way I play this piece, arpeggiation and all.
So why must we put up with a cheap imitation of your playing from Gieseking? Post!
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Joined: Sep 2006
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Joined: Feb 2013
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Here is another recording of someone who was not coached by Brahms. I just heard this for the first time, and it very similar to the way I play this piece, arpeggiation and all.
So why must we put up with a cheap imitation of your playing from Gieseking? Post! Another recording, which has no arpeggiation whatsoever, however he is asynchronizing his bass line, just like Philippe Entremont has done for 50 years, but I digress. Please listen and learn, if you want to know what Brahms is supposed to sound like, in terms of the aforementioned elasticity, in regards tempo rubato. Part of the genius of this composer is that he fit the philosophy of Romanticism into a strictly Classical Period format. Billy Idol's guitar player, who is a graduate of the "La Guardia School For The Performing Arts," did the same thing. Go figure. And, remember: no arpeggiation! http://www.youtube.com/watch?v=lxYlyZ3j3Ok
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Joined: Nov 2007
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Bruce, Just ignore Louis. There's absolutely no reason why to even consider him worthy of replying to! As far as normalizing goes: It was always my thinking that what normalizing does is to spot the loudest spot, get it to 0 db and the rest relatively louder... Which is not destroying anything. If anything it's like tempering the gain, until you reach the same result, but just easier. Recently people have been advising me that if a work is to go to a professional mastering level, then I should leave the normalizing bit to them (who might do it in a different way). If you consider that a 9 minute classical work may, after all, not have a 0db point (loudest part), then it seems very sane to NOT normalize anything. This lovely intermezzo by Brahms has very few loud points, none of which is one that would "qualify" exactly for reaching that 0db point. In which case it seems to me that you did turn some low volumes into a bit louder than it should be. But that's all irrelevant really, especially for a home recording... I won't go into any details about your performance, unless you want me to. Are you looking for feedback of your performance, or just sharing? In any case I will admit that I enjoyed your performance and had it playing twice (and now on the third time listening in a row).
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Bruce, Just ignore Louis. There's absolutely no reason why to even consider him worthy of replying to! As far as normalizing goes: It was always my thinking that what normalizing does is to spot the loudest spot, get it to 0 db and the rest relatively louder... Which is not destroying anything. If anything it's like tempering the gain, until you reach the same result, but just easier. Recently people have been advising me that if a work is to go to a professional mastering level, then I should leave the normalizing bit to them (who might do it in a different way). If you consider that a 9 minute classical work may, after all, not have a 0db point (loudest part), then it seems very sane to NOT normalize anything. This lovely intermezzo by Brahms has very few loud points, none of which is one that would "qualify" exactly for reaching that 0db point. In which case it seems to me that you did turn some low volumes into a bit louder than it should be. But that's all irrelevant really, especially for a home recording... I won't go into any details about your performance, unless you want me to. Are you looking for feedback of your performance, or just sharing? In any case I will admit that I enjoyed your performance and had it playing twice (and now on the third time listening in a row). One can say whatever they want to, however, Bernard Sherman, Charles Rosen, Carl Friedberg, Etelka Freund, and Adelina de Lara all thought it very important to write, play, and record in the style Brahms or as one of their students taught them. That is the same message I have been trying to get across on the rest of the classical music composers. Accordingly, hey Mark C., I will leave you with a link to a news article that I am currently trying to post as a visual copy. It regards the applied musicologist/pianist Robert D. Levin's research into the only composer/student written copy of Mozart's style of playing, which comes from the composer's own hand. If you think I am shaking it up in regards the composer's of the 19th century, you ain't seen nothing yet. http://www.theguardian.com/music/2011/sep/30/embellished-mozart-manuscript-uncovered
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