My listening bias? A case of Becks and Ketel Vodka, what else?
With regard to #1 (do I seek soundstage, tone, transparency or dynamics): I seek them all and attain none. Sometimes I do not know what it even means. For example, with regard to soundstage, I recently spent a good part of one night discussing how wide a quartet should sound. It really depends on where you sit (does a quartet have one soundstage?). If you are more than 30 rows back the soundstage of a quartet can be narrow or wide indeed (depending on the venue). If you take a chair in perfect position, well, the live soundstage is quite different. I have heard imaging reproduced on my system consistently that is almost unobtainable in a live setting. I guess it is possible if you sit right in the middle of the quartet. I was told that is because of the placing of the microphones and the intelligence of the producer. On the other hand, I have never heard a system reproduce the tone or dynamics of a quartet live. I believe it's impossible and almost futile to pursue. On the other hand, maybe the batteries are just low in my boombox.
If you listen to electric music the quality of tone can be reproduced and even improved. After all the music is electric to begin with.
Question 2 (where do I compromise): I comprimise everywhere or would be hopelessly neurotic.
Question 3: (mnestic value of live music?? - first epigone and now mnestic - I'm wearing out my dictionary!):Well, I listened to John Hiatt live recently with Sonny Landreth backing up on slide and John sounds better on my system at home with regard to imaging and tone. The dynamics of the live concert are better and I think we owe that to those lovely compressed cds. I think this is common with electric music unless you have a very special venue and live production. On the other hand, I heard Michael Brecker do a live set recently, much of it solo sax in a nice venue, and its impossible to reproduce it in any way - same with your fiddles and oboes Detlof - but we have to keep trying.
Question 4 ( how far will I go to reach my goals?): The room I listen in has its own limitations and I have spent about as much as I am going to. I almost feel guilty/stupid spending more. It is impossible to recreate live non-electric music (IMHO) and in our lifetime we may as well get use to it and just enjoy the music and not obsess on sound.
Question 5 (trust science or your ears): Trust neither and Use both. My ears have tricked me many times. I've listened to many systems unable to tell, at first, if the room was poor, or if the speakers were misplaced, or the amp or speaker had old or inadequate caps ... ect ect ect. Had to use my head and a little science/math/reading to find out. People who rely on ONLY their ears will never understand what they are listening to and what is creating the sound. They are likely to spend vast amounts on the wrong thing and the latest gimmick (which will go unnamed). Folks who use only science and formulas will never have a very good sound system. I like to make speakers and all the people I admire and immulate (George Short, Lynn Olson) know all the formulas and science and end up doing the final tweaking by ear. Modern science has rested on the idea of testing theory with experiments and results for several centuries now. I think the whole either/or debate is unproductive.
Sincerely, I remain
With regard to #1 (do I seek soundstage, tone, transparency or dynamics): I seek them all and attain none. Sometimes I do not know what it even means. For example, with regard to soundstage, I recently spent a good part of one night discussing how wide a quartet should sound. It really depends on where you sit (does a quartet have one soundstage?). If you are more than 30 rows back the soundstage of a quartet can be narrow or wide indeed (depending on the venue). If you take a chair in perfect position, well, the live soundstage is quite different. I have heard imaging reproduced on my system consistently that is almost unobtainable in a live setting. I guess it is possible if you sit right in the middle of the quartet. I was told that is because of the placing of the microphones and the intelligence of the producer. On the other hand, I have never heard a system reproduce the tone or dynamics of a quartet live. I believe it's impossible and almost futile to pursue. On the other hand, maybe the batteries are just low in my boombox.
If you listen to electric music the quality of tone can be reproduced and even improved. After all the music is electric to begin with.
Question 2 (where do I compromise): I comprimise everywhere or would be hopelessly neurotic.
Question 3: (mnestic value of live music?? - first epigone and now mnestic - I'm wearing out my dictionary!):Well, I listened to John Hiatt live recently with Sonny Landreth backing up on slide and John sounds better on my system at home with regard to imaging and tone. The dynamics of the live concert are better and I think we owe that to those lovely compressed cds. I think this is common with electric music unless you have a very special venue and live production. On the other hand, I heard Michael Brecker do a live set recently, much of it solo sax in a nice venue, and its impossible to reproduce it in any way - same with your fiddles and oboes Detlof - but we have to keep trying.
Question 4 ( how far will I go to reach my goals?): The room I listen in has its own limitations and I have spent about as much as I am going to. I almost feel guilty/stupid spending more. It is impossible to recreate live non-electric music (IMHO) and in our lifetime we may as well get use to it and just enjoy the music and not obsess on sound.
Question 5 (trust science or your ears): Trust neither and Use both. My ears have tricked me many times. I've listened to many systems unable to tell, at first, if the room was poor, or if the speakers were misplaced, or the amp or speaker had old or inadequate caps ... ect ect ect. Had to use my head and a little science/math/reading to find out. People who rely on ONLY their ears will never understand what they are listening to and what is creating the sound. They are likely to spend vast amounts on the wrong thing and the latest gimmick (which will go unnamed). Folks who use only science and formulas will never have a very good sound system. I like to make speakers and all the people I admire and immulate (George Short, Lynn Olson) know all the formulas and science and end up doing the final tweaking by ear. Modern science has rested on the idea of testing theory with experiments and results for several centuries now. I think the whole either/or debate is unproductive.
Sincerely, I remain