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General Asylum General audio topics that don't fit into specific categories. |
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General Asylum General audio topics that don't fit into specific categories. |
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In Reply to: They are here, You are there posted by ahendler on September 5, 2014 at 15:22:42:
Actually, the vast majority of recordings including many so-called inferior-recordings, have enough music info embedded within to provide a "you are there" perspective which is usually the preferred perspective if we're talking getting closer to the absolute sound.
The problem is that between the source component and the speakers, enough distortions have been introduced to raise the noise floor so high that perhaps the majority of music (low and high levels) falls beneath the raised noise floor and thus remains inaudible and hence produces a "they are here" music perspective. Almost as though the recordings were performed in a small studio room or sometimes even a sound proof booth.
However, as one poster pointed out, there are many potential variables introduced every time you swap in and out a component, e.g. different internals, different reactions to noisy AC, how the innards are mounted to the chassis, chassis construction, component footers and their contact with its shelf, and of course there a small slew of other variables that either improve the overall system's level of musicality or diminish it.
But as a system's resolution improves (as in inching toward the absolute sound), one of the many characteristics that will also provide evidence of real improvement (not just an audible change) is the amount of air or ambient information that was not noticed or audible prior to the change. This would imply that the new component has slightly lowered the noise floor, thus making a tad more of the music info processed but previously inaudible, now audible and your listening perspective falls deeper into the audience or at least further away from the soundstage.
The more audible the ambient info (along with many other characteristics) the more you hear the notes able to breath and expand within the recording hall sound stage, merging and melding with other notes, even forming new notes, and finally the notes both individually and collectively interacting with the recording hall boundaries and acoustics as it starts to flow out at you in the audience in larger more continuous waves rather than many tiny peashooters.
Hence, anytime you swap something new into the mix and you're convinced that you've been transported just a little more into the musicians' recording hall, you're doing better than before. At the same time, you should also notice many more audible improvements to substantiate your first inclination.
The last thing any listener should want is to hear a perspective as though all the performers and instruments of Mahler's Symphony of 1000 are in your listening room. There's nothing believable about that.
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Follow Ups
- RE: They are here, You are there - stehno 19:20:23 09/12/14 (0)
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