Let us not forget that the choice of microphone at the recording session will color the recording not to mention the placement of the mics and the room in which the recording was made. More directly to the point, I think Valin's review was incomplete since the Walker is an integrated turntable with the Walker arm. The Raven is not integrated and it should have been reviewed with at least one other arm and the same cartridge for a wider and more accurate review of what this table can do. I heard the table at High Water Sound in NYC and I can attest to the fact that it sounds surprisingly different with the Phaentom, the Tri-Planar, and the Dynavector arms. The results were all excellent, but pick your flavor. It's all an illusion from the mics forward. In order to know what live accoustical instruments sound like, you must hear them played in a variety of locations like Carnegie Hall, Lincoln Center, the Kimmel, Davies Hall, Severence Hall, Covent Garden, La Scala, the Blue Note, Eddie Condon's etc. If you attend live concerts enough and better yet, if you play an instrument, you eventually have a composite mental picture of how instruments sound in life. I cannot think of a better way than through attendance of the real event in many places over a long period of time to gain this knowledge. I have purchased the Raven and it will be delivered shortly. I chose it because it comes close to what I perceive as a natural instrumental timbre in its reproduction of music and I cannot afford the Walker which I think is the closest over a wide and inconsistent collection of recordings. But, make no mistake about it. It is not live music. For that you must eliminate the electronic chain.
Raven v Walker. Colored v Accurate?
This post has been generated following Jonathan Valin’s recent review of the Raven AC-3/Phantom combination in TAS. What intrigues me is not that JV has been lucky enough to review and buy or have on permanent loan yet another world’s best product. A truly astounding strike rate for any reviewer it must be said. Rather, it is what JV readily describes as the colored sound of the Raven/Phantom combination and the apparent appeal of this sound compared with what JV described as the more accurate sound of the Walker that piques my curiosity. This is not, I hasten to add about the relative merits of either table or their arms. The intention is not to have a slug-fest between Walker and Raven owners.
What really interests me is how it is that a product that in the reviewer’s opinion more accurately conveys what is on the source material is perceived as somehow less emotionally satisfying than one which presumably exaggerates, enhances or even obscures some aspect of the recorded information, if one can accept that this is what colored sound or the product’s character is. It appears counter intuitive and the deliberation of the phenomenon is making me question my own goals in audio reproduction. These have been pretty much on the side of more accurate is better and more emotionally compelling with due consideration to financial constraints in my choice of equipment in achieving this goal.
On face value and if you can accept the hyperbole it appears that the colored is better route is a little like going to a concert and putting on a device that allows you to alter the sound you hear. You twiddle a couple of knobs, sit back with a smile on your face and say “Ah! That’s better, that’s what I want it to sound like” You like it but it’s not necessarily what the musicians intended you to hear.
It seems logical that the closer one can get to accurately reproducing every piece of information recorded onto the medium then the closer you should be able to get to the actual performance, together with all the acoustic cues existing at that performance. I am making an assumption here that the recording medium is actually capable of capturing these things in the first instance.
We have our 12 inch pieces of vinyl on the platters of two systems under evaluation. We are not in the recording booth. The musicians are not on hand to play the piece over and over so that we can compare the live sound to the master tape and even if we did every performance is unique so we can never compare a second or third live performance with the one we just recorded. How then can the accuracy of a turntable/arm/cartridge combination and its ability to convey the emotion of the recorded event truly be evaluated? Ideally we should at least have the master tapes at hand to play on the same system in which we are evaluating the TT’s. The comparison will of necessity still be subjective but the determination would seem to be more believable than if the master tape were not part of the evaluation. If the master tape gave the listener no emotional connection with the musicians then I would contend that there would be something fundamentally flawed in another part of the playback system.
So in evaluating the two combinations would the more accurate combination be the more emotionally appealing? I cannot see how it would be otherwise unless we just don’t like what has been recorded or the way it has been recorded, the musicians have not made an emotional connection with us and the slightly flawed copy is preferred to the original. Is this why God made tone controls?
I have used the words seems, appears and presume quite deliberately, not to have a bet each way but because I am cognizant of the fact that we are, in audio reproduction dealing with the creation of an illusion and creating that illusion with people who have varying levels of perception, different experiences and tastes, different playback media and different physical replay environments so the task at hand for audio designers, humble reviewers and even we poor consumers could not be more complex.
What really interests me is how it is that a product that in the reviewer’s opinion more accurately conveys what is on the source material is perceived as somehow less emotionally satisfying than one which presumably exaggerates, enhances or even obscures some aspect of the recorded information, if one can accept that this is what colored sound or the product’s character is. It appears counter intuitive and the deliberation of the phenomenon is making me question my own goals in audio reproduction. These have been pretty much on the side of more accurate is better and more emotionally compelling with due consideration to financial constraints in my choice of equipment in achieving this goal.
On face value and if you can accept the hyperbole it appears that the colored is better route is a little like going to a concert and putting on a device that allows you to alter the sound you hear. You twiddle a couple of knobs, sit back with a smile on your face and say “Ah! That’s better, that’s what I want it to sound like” You like it but it’s not necessarily what the musicians intended you to hear.
It seems logical that the closer one can get to accurately reproducing every piece of information recorded onto the medium then the closer you should be able to get to the actual performance, together with all the acoustic cues existing at that performance. I am making an assumption here that the recording medium is actually capable of capturing these things in the first instance.
We have our 12 inch pieces of vinyl on the platters of two systems under evaluation. We are not in the recording booth. The musicians are not on hand to play the piece over and over so that we can compare the live sound to the master tape and even if we did every performance is unique so we can never compare a second or third live performance with the one we just recorded. How then can the accuracy of a turntable/arm/cartridge combination and its ability to convey the emotion of the recorded event truly be evaluated? Ideally we should at least have the master tapes at hand to play on the same system in which we are evaluating the TT’s. The comparison will of necessity still be subjective but the determination would seem to be more believable than if the master tape were not part of the evaluation. If the master tape gave the listener no emotional connection with the musicians then I would contend that there would be something fundamentally flawed in another part of the playback system.
So in evaluating the two combinations would the more accurate combination be the more emotionally appealing? I cannot see how it would be otherwise unless we just don’t like what has been recorded or the way it has been recorded, the musicians have not made an emotional connection with us and the slightly flawed copy is preferred to the original. Is this why God made tone controls?
I have used the words seems, appears and presume quite deliberately, not to have a bet each way but because I am cognizant of the fact that we are, in audio reproduction dealing with the creation of an illusion and creating that illusion with people who have varying levels of perception, different experiences and tastes, different playback media and different physical replay environments so the task at hand for audio designers, humble reviewers and even we poor consumers could not be more complex.