Audiophile Octave Record Recording Observations


My comments below are in response to today’s Paul’s Post, “Technology Leaps”. Believe this Forum would be more appropriate to document my thoughts.

IME and with “18” SACD Octave Record recordings in my music library (purchased for the music genres that Stir My Soul), to my ears, I have found commonality in their great fidelity presentations and realism of the recorded musical art form:

*Excellent holographic separation, air and depth (all behind the baffle planes of my speaker system).
*Well defined vocal, instrumental, percussive, keyboard and string timbres.
*Openness and clarity of tonalities and harmonic structures.
*Details and precision of musician placement and space throughout the 3D soundstage presentation.
*Conveyance of emotional excitement of the musicians’ intentions.

I could expound even further into the positives I find of the fidelity that Octave Records captures in the recording process, but IMHO, feel there is one small caveat…Dryness!?!

Except for the Real Live Recordings off-site (that I totally enjoy), the OR Studio Recordings seem quite Dry to me. I mean although the soundstage well represents the limited and recorded venue space of the studio rooms, I believe additional added REVERB (even ever so slightly) might simulate more of what a live performance venue could/would present of the performance excitement!

My singular example that well represents my thoughts, the OR Scabaret -Hot House Flower- album (recorded at Animal Lane Studios in Lyons, Colorado), has superb reverb balance and liveliness. On my very resolving system and in my listening room, this recording presents the group in a wonderful holographic soundstage presentation that stirs many emotions and strong “Live-I’m-There” feelings!!! :hugs:

Of course, these above observations are strictly IMHO (my ears-my system-my room-my musical taste), thus for most others, YMMV!!

Hope this does not come across as an overall put-down to the talented, successful and beautiful music art work that Octave Records has achieved, but as a singular opinion (wish) of only One of your many dedicated fans!!! :sunglasses:



Thanks, Theo and , interestingly enough, I have been working on that dry spell for some time. Try the Art of HiFi Percussion. Let me know if it is wetter.


There’d be a lot more to say, but concentrating on this topic…yes, I also noticed, that even the recordings made in bigger rooms or even churches lack room air and reverb in a way we’re used from other label’s recording places and yes, most others I have heard from Octave sound quite dry anyway, which might be intended or a matter of available recording places for Octave. My guess is, this will develop and maybe isn’t as easy to achieve as it seems.

I’ve always said HiFis should have a reverb processors again, they have appeared in the past at various times.
Like Graphic Equalisers, some people can’t be trusted with them, nevertheless doesn’t mean nobody should use them.

Worth an experiment to see how it affects the original recording (in terms of Soundfield, separation etc. etc.)
Up to me I’d have a Lexicon sat in the hifi rack for such occasional use, but they are a bit dear/steep for me :slight_smile:

As you made quite detailed descriptions and suggested to possibly. “add” reverb …do you differentiate between reverb and room air/ambiance and between natural reverb and added?

I think in this sense, added reverb might not give you exactly what you wait for, I guess it needs natural reverb of the recording space and the suited recording practice to make it sound natural and airy. Otherwise it sounds a bit like an old hard bop recording with certain instruments supported by reverb plates.

Well it would be across the whole mix, and “true stereo” reverb processors are very common now, it’s an experiment worth doing I think, if only to see how it affects instrument clarity and placement.
If it is not detrimental to that then may be worth pursuing.
It is very satisfying designing your own reverberant space (size, reflectivity etc.) and hearing it (and hearing it change) :slight_smile:

Paul…Yes it Is! No deluge (thankfully), but a steady soaking rain that does the soul good! What’s even equally amazing is the degree of superb attacks & decays of transient details…a trade mark of well recorded percussive instruments. Soundstage instrument placements have great focus and air, with nice spacial ambiance that fills the venue with a live stage presence!! :+1:

Additionally, thanks for the Ron LeGault Quintet “Charlie Brown goes to The Nutcracker”…What Fun! Musicianship is noteworthy and the recording is outstanding…well deserved repeat listening throughout the year! Curious, are the vocals and instruments recorded out-of-phase? :thinking: :wink:



If one wants to hear natural reverb on a rock recording, I suggest Joe Jackson’s Body and Soul. While it was an early digital recording, there is a recent Sacd remastered from the multi tracks that really lets you hear the natural reverb of the Masonic Hall they recorded in.