I agree with this. And that is what makes the DG stuff so interesting. I believe that, at least for the current offerings, the recording conditions were the same.hesson11 wrote: ↑Sat Aug 12, 2017 12:06 amJust a not of interest: Years ago, Stereophile Magazine issued a test CD with a recording of one of its editors reading an article he had written for the magazine. Every few sentences, the microphone used to record his voice was changed (i.e., Shure to Neumann to B&K to Telefunken, etc.). The differences in tone quality were absolutely huge. It almost sounded like a different person speaking when the microphones were changed. (The Stereophile Test CD 1 is available for purchase on the Stereophile site, if you're interested; the recording is not available online.)
Unless guitars you are comparing were recorded under EXACTLY the same conditions with EXACTLY the same microphones and played back with EXACTLY the same equipment, you really have no idea of the comparative sound of various guitars.
Jack - the more that I think about this the more that I agree that "a set and pre-determined process with which you have significant experience" is the right answer. I am a novice here, so I am not sure that I would have done anything much different than what I did (other than to make the decision that Adelita would be a good basis piece more than 10 days before the trip).Jack Douglas wrote: ↑Sat Aug 12, 2017 12:19 amDave,
For me trebles, especially above the seventh fret and basses are good indicators and in general have similarities of tone live or recorded. Also, As you may have noticed I use 'Romance' as my comparison piece. It's simple, single line notes and I know from listening to that same piece over a period of years what the notes sound like or should sound like if I'm going to like the guitar. If I don't like the tone it's a quick decision. So, whether live, on the phone or in a recording I'm listening for how the notes in Romance sound to me.
So, in evaluating your Marzal and the Jacobson I was listening to those individual notes and how they stacked up to my mental library of hearing those same notes many times. Whether live or in a recording, good or bad player, I listen for how the guitar reproduces those notes.
That's my method.
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