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HUG - here for all audio enthusiasts

The Harbeth User Group is the primary channel for public communication with Harbeth's HQ. If you have a 'scientific mind' and are curious about how the ear works, how it can lead us to make the right - and wrong - audio equipment decisions, and about the technical ins and outs of audio equipment, how it's designed and what choices the designer makes, then the factual Science of Audio sub-forum area of HUG is your place. The objective methods of comparing audio equipment under controlled conditions has been thoroughly examined here on HUG and elsewhere and should be accessible to non-experts and able to be tried-out at home without deep technical knowledge. From a design perspective, today's award winning Harbeths could not have been designed any other way.

Alternatively, if you just like chatting about audio and subjectivity rules for you, then the Subjective Soundings area is you. If you are quite set in your subjectivity, then HUG is likely to be a bit too fact based for you, as many of the contributors have maximised their pleasure in home music reproduction by allowing their head to rule their heart. If upon examination we think that Posts are better suited to one sub-forum than than the other, they will be redirected during Moderation, which is applied throughout the site.

Questions and Posts about, for example, 'does amplifier A sounds better than amplifier B' or 'which speaker stands or cables are best' are suitable for the Subjective Soundings area only, although HUG is really not the best place to have these sort of purely subjective airings.

The Moderators' decision is final in all matters and Harbeth does not necessarily agree with the contents of any member contributions, especially in the Subjective Soundings area, and has no control over external content.

That's it! Enjoy!

{Updated Oct. 2017}
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Music to play at Harbeth public exhibitions

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  • Music to play at Harbeth public exhibitions

    What would you like to hear at exhibit

    I suggest:

    Michael Jackson, Bad: The Way You Make Me Feel
    Deep Purple with the Royal Philharmonic Orchestra, Third Movement: Vivace - Presto
    Buddy Guy, Sweet Tea: Baby Please Don't Leave Me
    Karrin Allyson, Collage: And So It Goes
    Diana Jones, My Remembrance Of You: Cold Grey Ground
    Charlie Haden, Liberation Music Orchestra: We Shall Overcome
    Charlie Haden Family & Friends, Rambling Boy: Single Girl, Married Girl
    Steeleye Span, All Around My Hat: All Around My Hat
    Fairport Convention, What We Did On Our Holidays; Mr. Lacey

    Spotify linkhttp://open.spotify.com/user/1123819...r5Wg5WbOpbvTDk

  • #2
    Music to play at Harbeth public exhibitions

    In a parallel thread we have touched on the subject of what electronics should we be associated with in a Harbeth-UK managed/funded show.

    What about the choice of music? There are, just as with electronics, some issues.
    1. The public are free to come and go at will. This means that they are dipping into and out of performances, and may arrive at a quiet moment which does not excite and may not linger long enough for the music to perk up
    2. The wholly untreated hotel bedroom room acoustics are not conducive to bass-heavy music
    3. The subjective sonic damping in the room is primarily provided by the human bodies present. This makes consistency of sound impossible to maintain
    4. Public musical tastes are wide and unpredictable through the show and it is unwise to make too many assumptions
    5. Most listeners will, to a reasonable degree, tolerate/endure music that is not of their taste if it is only for a few minutes
    6. Some listeners bring their own CDs. We have always been accommodating of own-CDs as an opportunity to showcase of our speakers but sadly, the recording quality of these pet pieces is often extremely poor. They may well have a strong emotional attraction, but they usually clear the room in a minute or two and do nothing for our product reputation. For example, thrash and techno are interesting sounds but not relevant to our typical buyer, and many pre-digital recordings, even mastered to CD, are often so lacking in detail, HF and air that they are, after long exposure to pristine digital recordings, painful or even embarrassing to play because they are so dull: all bass and no sparkle
    7. As discovered at the KJ and Guildford Audio demonstrations in the summer of 2014, explaining what to listen for, playing the clip and then discussing it afterwards, seemed to work very well, but that was with a group of ten or so, under invitation-only conditions
    8. We cannot be all things to all men or play all music to all men! We have to take a view on what is most likely to be listened to by our customers at home and that tends to mean music that they can immerse themselves in for relaxation and contemplation. That tends to bias our choice away from rock/pop

    There are four factors that have equal prominence in our consideration of music selection:

    A) The recording must be first class - dynamic, open, fresh, airy and natural. For me that's vital. I'm not too fussed what musical genre - I just like sound - but the recording quality has to be A1.
    B) The clip must not be for more than, say, 10 minutes maximum
    C) It must be convenient to arrange a continuous flow of music (pre-planned) because it is not possible to engage in meaningful discussion with visitors if one is dancing around swapping discs
    D) The music must be relevant (or expected to be relevant) for the demography of our typical buyers
    Alan A. Shaw
    Designer, owner
    Harbeth Audio UK

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