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In Reply to: RE: There's a tremendous posted by unclestu on January 11, 2015 at 14:48:39
The problem is that none of us really know what is on a recording. When I produced a recording in the studio it was always a result of my subjective feelings of what things should sound like. Then my master went to be mastered either for vinyl or cds. The sound was never the same as my master. So what is the true accurate sound. The live sound in the studio? The sound in the control room? The sound in the mastering suite? Since we really don't know the answer to these questions I put together my system to produce that subjective sound I have always carried in my head. Is my system colored. Probably. But when I play back music I recorded I feel I am back in my control room. I do have a beautiful classical guitar with a spruce top that I willace in my listening room and see if anything changes
Alan
Follow Ups:
AHendler,Have focused daily and almost exclusively for one thousand days on successfully reaching the sound of live music. What do I mean by the latter? It is the sound of the recording that remains after all the distortion and corruption, recognizable to the brain and ear, have been eliminated. Listening becomes a completely stress-free experience and there is literally no limit to the hours of music that can pour through the ears and brain. Typically I listen for 10 hours daily.
From zero-noon the volume nob requires turning to less than a 12.30pm-1pm setting, the bass is deep/ solid without a sub-woofer and the treble/ mid-range notes stand forward and separate dynamically and engagingly out of silent darkness across a wide sound-stage. Close the eyes and it sounds exactly like a live performance, not just to me but to other audiophiles.
Compared to most members, my system is simple, inexpensive and relatively unimpressive on paper. And I write because the 2k+ hours of testing with the recent successful conclusion convinces me that Tre' is, in fact, correct. Those who tune indulge a preference or compensate for previous equipment choices but the accessed underlying recording is the accessed underlying recording that itself never changes. The degree to which a user may successfully access that recording without distortion and/ or corruption in reproduction will hopefully, of course, improve over time.
The secret to reaching 'live music' is a relentless focus on the 'EMI ICEBERG' whose thick distortion curtains hide below much conscious awareness. De-magnetized brass for ferrous screws in speakers , plastic substitutes for all brass and stainless steel screws in amplifiers and components except DVD/TV are requirements. Component vibration, shared component corruption/ ground, etc.etc. always get the attention so they are not hiding live music from audiophiles like EMI. Hopefully this renewed emphasis will benefit someone's ears and brain somewhere...
DG
Edits: 01/11/15
Since you have tried and incorporated many tweaks I have mentioned, have any added distortion? I believe all tweaks I have recommended reveal more information previously buried by other factors, many of which have been either ignored or perhaps not considered to be a factor.
UncleStu,To quote the immortal Harold Ickes, Jr, "I do not recall" any of your excellent tweaks creating distortion:-) They work well in my experience and often introduce areas for further testing for which I shall always be in your debt.
In my opinion the most pernicious sources of system sound degradation are those like magnetic distortion in speakers/ amplifiers hidden from conscious awareness and lack of circularity of unbevelled CDs masking the byproduct/s of lesser sources of distortion/ corruption. EMI is the hedgehog-worst because few can be bothered with such a fiddly, time-consuming job that it's put off until never...
DG
Edits: 01/12/15
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