HarmonicTHD
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If you own a Picasso it probably is (the future)Only if the future is so bright, you have to wear shades.
If you own a Picasso it probably is (the future)Only if the future is so bright, you have to wear shades.
The latter. It is so that the other "audiophool" I was referring to has the habit to happily and reluctantly ignore the recording process, the making of the recording. How much of, reiterated, *abstraction* is used when translating an often only virtual performance to a recording which shall be listened to *not* critical but with joy and enlightment.
Every single time in the past I mentioned necessary *abstractions* I was ignored, systematically. As if the concept of an abstraction was too abstract. Despite the given example of a pencil sketch on paper, abstraction as an artform, as THE essence of art. Dare to reiterate, the recording--the audio enthusist's "SIGNAL", is everything else than an electric copy of a real thing.
Given the very fact that a recording is an artifact of art, how could an audio enthusiast shell out the verdict "low-quality"?! Especially if he/she is ignorant of the very fact that it is an abstraction anyway?
In my experience better speakers actually made bad recordings listenable.Hi
It is sometimes mentioned that some of the best speakers in the world only work well with the best recordings, because they are so good they will expose bad recordings.
It there some truth to that, and if so, what would cause it? It is not something I have experienced myself. Every time I do a substantial upgrade, I think all my music sounds better.
The headline is a direct quote from this review:
Joseph Audio Perspective loudspeaker Perspective2 Graphene
John Atkinson reviewed the Joseph Audio Perspective2 in July 2019 (Vol.42 No.7):www.stereophile.com
What is it?I think I need someone else here to interpret this. I'm still sensing a whole lotta judgment...but not following what is being said specifically.
Please go ahead as I think you wish to define the terms 'music' in relation to a recording, what part of the recording is the music, and not the least what 'sound quality' is as another part of the recording.ou seem to be conflating two different things: A judgement of the art (music) and the judgement of the sound quality.
What is it?
Please go ahead as I think you wish to define the terms 'music' in relation to a recording, what part of the recording is the music, and not the least what 'sound quality' is as another part of the recording.
You know, I tried to exlain to some avail with others my point several times. You may not agree!
A more revealing chain will invariably also more clearly reveal flaws in ho-hum recordings (which covers a lot of music whether we like it or not). But that doesn't mean the music becomes unsatisfying - one of my favorite recordings of all time is Karl Muenchinger's "Canon" rendition from the late 1950s... very audible tape hiss. Still love it, and still use it as a reference.
I think the whole thing about "forgiving" audio equipment is yet another audio clichee.
individual observations varies, but in my understanding and my community, traditional audiophiles have so much myths they purchase a main system and a few small passives, paried with a few types of cables and cable risers, vinyl head (I agree though the needle quality does matter) and a few diff flavor of tube amps for that sake, while tech ppl just use basic cables that do the job and enjoy the whole music.I have noticed the opposite.
I see a lot of "traditional" non-technical audiophiles with audio equipment they had for about 20-30 years, and they still seem satisfied with their gear with no apparent longing for upgrades.
But on this very forum, I see a lot of people running amock for the next upgrade of their current gear, like small technical refinements of the very same speaker or amp they already have. Those small technical refinements have (most likely) very small audible benefits, but still, they can't wait to make the upgrade. KEF's lineup of Meta upgrades comes to mind, in a similar fashion as the car industry selling this year's version to the people who bought last year's version of the same car model.
Hi
It is sometimes mentioned that some of the best speakers in the world only work well with the best recordings, because they are so good they will expose bad recordings.
It there some truth to that, and if so, what would cause it? It is not something I have experienced myself. Every time I do a substantial upgrade, I think all my
The headline is a direct quote from this review:
Joseph Audio Perspective loudspeaker Perspective2 Graphene
John Atkinson reviewed the Joseph Audio Perspective2 in July 2019 (Vol.42 No.7):www.stereophile.com
Speakers that are unforgiving of poor-quality recordings - is that a thing?
Such a great question, thank for this thread. Just as an answer to the question, yes some system will reveal particular aspect of the recordings better than other. speaker sound do not exist out side the room, very dependent on where they are listen to and where they are positioned in the said room specific acoustic.
Revealing can be great or not so great depending on what is there to reveal in the first place.
Balance might be the better approach, we want the best to shine, but not artificially, you want to look at all the details but not too close as to loose all the perspective on what is to be seen.
A balanced FR response, minimal distortion and resonance will allow to hear what is in the recording without giving to much importance to one aspect or the other. Placing the system away from boundaries and away from room modes will minimize coloration of the sound, more than changing speaker a for speaker b, if well done, all recording will be presented in a fair way, much like a neutral headphone or IEM will do. Once coloration is eliminated, it is quite amazing how great most recordings are at letting trough the emotion of the music, allowing attentive listening session without listening fatigue. We might prefer one producer to an other, but should always refrain to modify, alter, what is in the recording to have a better chance to understand, appreciate, what that recording is about. It might take a song or two to enter the new universe when switching from one record to an other, but it is worth the patience to access all the variety we have access to, much like we would not alter the light when watching different paintings, just because we might prefer a colder light to a warmer light.
Coloration, is not a sign of greatness, it is a sign of tempering and should be avoided at all cost.
I mean, the distinctive recordings of everything from The Beatles, The Stones, The Beach Boys, Phil Specter's production etc, came through on a massive variety of pretty crappy equipment when those bands were popular (from transistor radios on the beach, car radios, to cheap turntables teenagers or whoever used to hear their favorite groups).
The worst produced album I ever heard is this:
View attachment 284177
Fun fact,CD costs 79$ euro in Amazon.
Try it,your speakers are not broken,don't worry.
I remember Eddy Offord complaining about bad valves when recording ELP, when they were out of favor and consigned to the back studio. This sounds like a similar situation.If y'all need a test track, might I (with characteristic humility) suggest the Moody Blues' early hit, Go Now?
low-res example:
I don't think any loudspeaker will make it sound good.
Oh, and I'd also like to mention my bias againstmostmuch early to mid 1980s pop music (at least as originally released on LP): The 'big hits' of the era were often (IMO/IME) distressingly (over) compressed, thin, and steely sounding. I don't think much will help 'em.
It does frankly sound overmodulated to me.I remember Eddy Offord complaining about bad valves when recording ELP, when they were out of favor and consigned to the back studio. This sounds like a similar situation.
Gotta think the studio just didn't care if they released something that grainy sounding.It does frankly sound overmodulated to me.
It's not only the violins,Image is all over the place too in some points.That’s the worst produced album you’ve heard? It sounds fine through my speakers. Far from the best, but I’ve heard much worse. It’s not an album I’d recommend to anyone – for starters, I don’t care for the string arrangement of the Goldberg variations (then again, one of the most popular recordings is a questionable arrangement for Steinway and baritone ). The violins playing the main voices here are way too much spotlighted for my taste, but overall the recording isn’t too bad.