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In Reply to: RE: An observation posted by Mike K on October 31, 2023 at 06:56:10
While there will always be variations in the sound of particular instruments, halls and performers, there is an unmistakable character to what you hear with unamplified instruments and voice in space. Harry preferred sitting center orchestra about row G. His close friend and reviewing partner in crime, JWC had his season tickets in the loge. Different perspectives but both render the same concept.
My wife's Nordiska piano sounds different from a Steinway or a Bosendorfer, but all deliver examples of The Absolute Sound free from electronic distortions.
His objective was to capture that sense of realism you only hear devoid of sound reinforcement.
Too much depends on the venue, you seat, the conductor, musicians, instruments, and, for that matter, the weather. Ultimately what what listeners hope for as "live sound" from a recording is subjective and a matter of personal preference and prejudice.
And there are countless examples. The alternative is sound reinforced which never truly sounds real.
Which you choose up to the individual.
90-95% of that is spatial cues. Traditional two channel recording and playback get that very wrong for numerous reasons.
It's a gap that can not be bridged without binaural recordings and cross talk cancelation.
yes, there IS an absolute sound but we can only TRY to get there. i have gotten close but of course, it isn't fully attainable no matter how much you can throw at the problem whether money or effort.
i get much enjoyment from my setup and most people that hear my system feel like it is credible. we all have our limitations.
evaluating sound quality by comparing what you experience at any number of live venues is far more valuable IMHO than chasing metrics like SINAD that fail to correlate with what we hear.
The metrics don't fail. Audiophiles fail to understand what metrics matter how to measure them and how to interpret them.
It is impossible to reliably and meaningfully compare long term aural memories to real time aural stimuli.
SINAD in particular does tell us somethings about what effect a piece of gear has on the audio playback chain. As long as one doesn't misunderstand what SINAD tells us and what it does not tell us it can actually be a useful metric. It doesn't tell the character of the sound. It tells us if a component is definitely audibly transparent, probably audibly transparent or probably not audibly transparent. And that's about it. IMO that can be useful. Just not a one stop shop for all your audio metrics.
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