I put up a pair of 193's in near-coincidend (ortf) in the middle of a string quartet last week. Seemed like the thing to do for the gig.
Again, if someone is truly being genuine and has a problem with high end high def digital... enjoy the 7 recordings you found in the world that actually make your standard in that fancy listening room you built! If you're operating at that level, do you even have words for the crude volume war trebly stuff?
Dismissing everything else isn't right though. Shaming the volume war crowd is a better starting place.
Get a few more 5.1, 4.0, etc well done mixes out there.
Our stupid (Russian) ISP-censorship system blocked this website today, so I had to use TOR to get in.
Some of the best chamber music recordings I ever made were with ORTF pairs, but they were "special" thanks to Calrec. The biggest problem has always been "getting inside there" to make the 2nd vln and vla well defined with the finer harmonics of the cello.
When paired with a piano, even the BBC constantly get it wrong in their studio recordings forcing the "solo" instrument fwd and losing the piano.
I don't really listen to commercial recordings any more, 90% of them are horrible.
Listening to France-Musique & the BBC live is generally speaking as good as you will get, but there in the EU we have this vast advantage over the USA and most other places around,- of having live FM stereo national broadcast systems.
Even in Germany they don't have that, dividing up music broadcasting into regions,- really annoying when you are driving any distance, as let's face it, the raison d'etre for listening to music esp hi end and surround HAS to be the car.
(I'm working on an ESL based system in car, but obviously putting in multi Kv high voltage cabling in this environment with vibration and a big mobile 350V HT powered amp is a challenge..).
A little OT.
Russia is a nightmare, the chances of getting a decent live broadcast are absolute zero, which of course is why I am working in there.
Attempting to put the machine into reverse, feels like a lost battle and militating for bringing back at least SOME of the standards they had with people that worked at MELODIYA an uphill struggle.
So yes, I am only interested in auditioning our recordings back home, so that we can always do better.
We did an excellent, no expense spared, Boheme, a while back and that stretched the whole team to the limit.
The verdi requiem was "not my ticket", so of course then when you become the "gendarme" of the team, it's "err...WTF did you do here"...and why does this sound so bad,
mea culpa and that inevitably means 24bit is meaningless, - we are already working with that and beyond that level a long time, combing thru the bugs and killing the evil algorithms!