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In Reply to: Studio components best for Hi Fi - here's why posted by benhen on February 15, 2007 at 14:55:48:
I strongly suspect that near field listening and the acoustics of the studio playback room contribute far more strongly to the sound heard in the studio than do the actual components.I think you're much better off paying attention to your own room acoustics and speaker placement/listening position location in order to minimise the effects of your own room than you are worrying about your components provided, of course, that your components are of reasonable quality. Attending to your room room will make a much bigger improvement in sound than is involved in any change of components.
Follow Ups:
It seems to me like the best way to experience the truest idea of say - "Born to Run", is to go to the Record Plant and listen to the masters in the control room. Wouldn't that be the closest approximation, highest fidelity, of what the original intent of the artist was?To put it another way, if I'm standing in the Record Plant control room with Bruce listening to the master of Born to Run, and he is nodding his head, saying, "Yes, this is what I intend the music to sound like," wouldn't that be the highest fidelity of that album? Of course it would.
I bet he would say that his "highest fidelity" is about 10 rows back, center stage. I've been to many of his shows and hearing that band from that distance is outstanding and very few (if any) home systems can duplicate that.
But most of us can't do that so why bother fantasising about it.I think we're capable of getting a lot closer to that experience at home with acoustic treatment of the room and good speaker and listening position placement than we're capable of doing by swapping our components for studio items. The room has a much greater influence on the sound.
Wouldn't that be the closest approximation, highest fidelity, of what the original intent of the artist was?It is not a safe bet to assume that the wishes of the label are the same as the wishes of the artist. I can't imagine that many of today's artists actually prefer the dynamic range-free mixes done today. Nor choose rampant over modulation that was unheard of not so long ago. That's pushed for radio play.
There was a time when I really thought I wanted an Altec A-7. Professional speaker. The Voice of the Theatre . Then I actually heard them. Don't let a moniker limit your choices of the best speaker for your room. Contrary to what you may believe, it is not always the goal of the engineer to use a tonally neutral speaker. They want certain frequencies accentuated to make the mixing job easier.
When you consider forms of unamplified music such as classical, some jazz, acoustic new age, etc., then the concept of the studio as the "live reference" goes out the window. No more artifice.
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