The closest approach...really

Mrtennis, you are 100% right. I apologize. I screwed that up, and even thought to word it differently then.

In no way were you asking for help, as you truly view this as a sort of feat of audio strength on your part. That being the case, it would serve as a priveledge for any of the hoi polloi to be associated with such important point in audio history.

Still, you missed my point ala Rodney, which Tvad echoed - you're going to be extremely hard pressed to find anyone who would want to be involved, or really cares at all. In other words, you're going to have to play with yourself.

Grant, I wouldn't say that I'm a bright guy. But, based on that Marilyn Lange exchange we had way back, I would say that you know me very well. And, you read me exactly right here today.

Newbee, this time, it was worded exactly as it was meant.

Mrtennis, "i have at least 30 would be assistants in the ny area, members of audio clubs, who would assist me, if necessary."

It's amazing what you can get the hookers to do these days. Well, I guess so long as they're getting paid...

OK, enough levity. Sometimes, I wish I wasn't such a wiseacre. It limits me in that I miss out on being invited to events like this - one of the truly historic moments in audio. I only pray it might be taped, and put up on youtube to be available to the great unwashed such as myself.

For a while, I used to question the direction audio could move in wake of the loss of such lions of the industry as Bud Fried, David Hafler, Jason Bloom, etc. But, after this thread, no more!

All of this presumes that the audio engineer's ears and tastes are inline with what whatever audiophile "standard" folks in this thread hopefully applies. That just about NEVER, EVER happens.

Let us not forget musicians, engineers, and audiophiles are three distinct species, with the overlap of audiophiles and the other two being by far the smallest in the equation. Yes, there is a small movement towards those who publish things almost exactly as they were recorded, but again, it is a small movement. The industry has accepted certain bastardizations as being necessary to make music either playable on a car/table radio or saleable.

Recording engineers, like anyone working in a field mixing both art and science, leave as much of a fingerprint on the sound as anyone in the band. When you go to different restaurants, the same recipe will taste different because a different chef has prepared it. Music is absolutely no different. Anyone who hears the original tapes in comparison to the mixdowns knows the latter rarely lines up with the former. In fact, musicians seek out engineers to lend a particular flavor or "seasoning" to the end product. For example, engineers such as Brian Eno and Daniel Lanois have very recognizable sonic signatures. Lanois' work, characterized by his incredibly dark and heavy sound is as far away from what is originally put down on tape as one can imagine, yet he remains always in demand with the most well known musicians in the industry.

Bottom line, the way your system sounds is as unique as your musical taste. No need to fret over it, or feel you aren't living up to some "standard". Just go with it; whether "it" is the absolute sound of unamplified instruments or something different than that. No one is ever held to account as to why they drink Coke or Pepsi, why let them them hold you to something with your system and/or music? After all, the tastes of those involved in making and producing that music are just as varied as ours.

Mrtennis, the "offer" you put forth, which implies asking for help among people you consistently alienate brings to mind two of Rodney Dangerfield's more famous lines...

"I remember getting lost at the beach when I was a kid and asking the cop on the boardwalk if we would find my parents--and he said, "I don't know, kid, there are so many places they could hide."

"I don't get no respect. As a kid, when I played hide-and-seek, and they wouldn't even look for me."