What is it I'm failing to grasp?

+1@jessica_severin and sns

I don’t believe I could get, nor would I want to get my system to perform at the audaciously loud level and scope of a live rock concert. it does come close to re-creating the scope and feel of the small venue jazz performances put on regularly at a local dining club, as well as the classical chamber music performances hosted at a local historic cathedral that was designed for acoustics.

I still enjoy all genres of music, just some at considerable less volume than live.....Jim

I enjoy the energy and excitement that accompanies a live performance, be it 5 concert harpists playing jazz improv, a symphonic presentation by the local organization, or a outdoor/indoor 'popular music' extravaganza....

The worst of the latter have been in venues that should Never happened.

Dave Matthews in a basketball arena....no amount of pro mix could overcome the echo distortion incurred, to the point of leaving our seats and just milling about searching for Anywhere Better....even if we couldn't tarry for long.

As my ears aged, I found the biggest drawback was that my ears finally gave up 'working' when subjected to the cheering, whistling, and just outright howling from the audience.  Wearing 'roadie' grade earplugs helped for awhile; later on, an 'audiophile' version allowed for the nuance to override the noise, but...

It has to be Someone that I Really want to hear live these days....my aids seem to agree, since at excessive dB they mute automatically.

I chalk that up to saving me from myself...*G*

I've grown to enjoy streamed concerts recorded professionally 'off the boards' when the mix has been done with the fan appreciation in check.
Most 'fan flix', done within the audience, suck.
The only ones that held their own were (and are) the 'deadicated' fans of the G. Dead that brought sometimes sophisticated means to do so. *L*

Most cell-shots are just awful,
There is hope, as more small digital devices for 'field recording' are becoming available...whether one can get them past the entry check points is still an unknown...

All of us tailor our equipment to our own tastes, space, and (of course) budget.
The 'lucky' can pursue to the limits of the above.
Most hit their own 'acoustic ceiling, whether by the above having limits, and perhaps the largess or lack of in the 'significant other' in their lives.

There is absolutely nothing wrong about this, it occurs in most of ones' life.

You may want a Porsche, but drive the Dodge.

You may have the 911, but wish it would entail the costs of the Dodge.

The trick is finding the balance that suits.  And satisfies... :)

Don't stop enjoying it.

Happy weekend, y'all. *S* J

many great responses here.

I have always had an issue with the "live unamplified music" being the gold standard. As mentioned in previous posts, a lot depends on the venue, where one is sitting, etc.

I have attended several (more than I remember) concerts.  Jazz in small venues (best), Jazz in large venues, classical, rock, etc.  most concerts (not all) are amplified.  even in small venues.  So, unless one is sitting right next to the stage, you are hearing the music from amplifiers and speakers, and that is dependent on the sound engineer.

But, small venues, up close.  wow!. 

Examples are Shirley Horn everytime she  visited LA, I would go see her.  What a treasure.  So sad she passed.  It was just her on piano and vocals, with her drummer and bass player.  wonderful.  Could listen all day.  Eliana Elias also in small venues is wonderful.

Pat Metheny group when they were together was great.  at least three hours performing.  no talking.  Amplified, but the performances were great.

To me, listening fatigue is dependent on the music and recordings, and the system.

One can only take loud for so long before the system starts to shut down to protect itself.  Bad recordings are another cause of listening fatigue.

I'll take Jazz recordings from the mid-to late 50s, sixties and early seventies any day.

Another issue is knowing what to listen for and for me, making sure my system can accurately reproduce the recordings properly and also accurately showcase instruments correctly.  I've played classical violin, and several other instruments. I know what a real (non-electronic) violin, piano, etc. sounds like.  So, when I listen to systems and the instruments don't sound real, it drives me out of the room.

Same with bass.  If it is too much and not accurate or boomey.  I can't deal with it.  Bass reproduction should be accurate, not exaggerated.  Some equipment emphasize bass to the point that it isn't what was recorded.  And people listen to it and say, boy, that bass sounds great.  others listen and say, that's not real, that is exaggerated.  The system, including the room, should be flat in frequency response from 20Hz to 20kHz. one can tune the system and room for certain taste, but peaks and valleys are what  one should be trying to eliminate unless there is a hearing issue where equalization is required.

to the OPs original post.  I can listen to my system for many hours with no issues. I know and hear the differences between certain artist and their instruments.  certain violins, certain pianos.  Joe Sample vs Bob James, vs, Bill Evans, etc.  

So, "live" does not mean accurate either. especially if "live" is amplified.  I've been in  really small venues where the artist were still amplified and sounded like a mess.  Shirley Horn live at Vine Street. Well, I was there.  yep,  the recording sounds very much like the live event.  

For me, it was me trying to get to that "I'm there" moment with my system.  No need to upgrade (unless I was given a piece and price I couldn't walk away from).  Randy at Optimal Enchantment in Santa Monica was very good at that.

Better equipment out there.  you bet.  But, does my system in my room sound great?  yep.  Does it sound like live?  depends on the recording, the miking used, etc.  Early CD recordings sound terrible.  Music is great but the recordings were terrible.  Stanley Turrentine (Don't mess with Mr. T).  Great music, horribly recording LP.  OMG.

enjoy

Live music in the past was far from perfect and most artists would not take the risk of producing a 'live album' as technical things with others usually went wrong during the performance until Deep Purple produced 'Made In Japan' album and everything changed.  With stereo it has the advantage to show the listener what would sound in perfect condition according to ones mind.....

The Strata-East copy of Winter in America from GSH and Brain Jackson is stunning.

It’s now expensive only b/c it is on the Strata-East label and possibly the most accessible and best known album in the their catalog. (The Bottle, which is a little later, if I remember right, is the UK equivalent of the same record, and at one time was cheep). Cool, chime-y Rhodes sound. Gil Scott’s vocals/spoken word. Bad-ass sound. And only scratches the surface of the S-E catalog. But well loved here. I can immerse myself in this stuff. And that’s only the beginning insofar as spiritual/soul jazz is concerned.....

Aside from sucky acoustics, and bad sound live, some "live" albums benefit from the energy the band picks up from the audience that is reflected in their playing. I'll take that over a more pristine studio record because of the performance.