@mahgister You bring in spatial cues and while they may be important for dimensionality, space, and immersion, I’m not sure that they are necessary for emotional engagement and musical enjoyment.
Striking a balance between musicality and resolution
As my years and experience in this hobby continue to grow I notice a divergence between those seeking extreme resolution and detail from their music reproduction systems and those in search of maximum musicality.
In theory, high-end audio systems should provide more than garden variety stereo systems. In my view that means more detail and information should be heard from a high-end music reproduction system than one hears from ordinary HiFi stereo systems set ups. BUT is there such thing as too much resolution and detail in a stereo system’s sound presentation?
Some people feel that a less detailed presentation that is easier for your brain to process has better flow and provides more enjoyable listening.
So there is the dichotomy. Should one pay more to hear less? Can a frequency response performance that is curtailed at both frequency extremes be desired and praised?
Those that seek a “more musical” presentation usually point to their belief that that is how they hear live un-amplified acoustic music in the real world. In nature, high frequencies attenuate and decay with distance from the source and sound waves get absorbed, diffracted, reflected, and diffused by the environmental factors and landscapes; so they are not wrong in stating that in the real world the sound of music is less detailed and extended. The issue is that when we listen to our music reproduction systems at home we are not listening to live un-amplified music in a concert venue, but rather professionally produced audio recordings typically recorded with close-microphones techniques.
So the question is, do we want our systems to reproduce the sound on the commercial audio recordings accurately or does one want hear the sound the way one thinks that it should sound?
Lucky for me, I have enough systems at home that I have been able to design, set up, and tune them for different targeted resultant sound, sound presentation, and sound qualities. For instance, my OKTAN6 ultimate horn system is a dissecting microscope, my Pinnacle horn system aims at extreme musicality, and my WAAR reference system is a chameleon, which can be adjusted to sound exactly how you want it to sound in real-time.
My “test-bed” system takes on the sound character and sound qualities of the components in use and it is excellent for evaluating what new components have to offer or bring to the table in terms of sound qualities. But with the Acapella TW-1S ION plasma super-tweeters extending the high frequencies, the TBI Emperor subwoofers extending the low frequencies, and the highly detailed & nuanced Digital Audio Denmark AX24 DSD dac streaming HQPLAYER as the source, the “Test Bed” system is a highly resolving system.
As with everything else in life, is there a happy medium or compromise that gives you the best of those worlds? I believe that there is and that great music reproduction systems can be tuned to strike a balance between musicality and resolution. If one listens to the evolution of my OKTAN6 ultimate horn system for instance you can hear that the fine tuning is driving the sound in that direction.
So during last night’s listening session I adjusted the sound of my “Test Bed” system to a more musical sound presentation. The “Test Bed” system is always in flux so it allows me to experiment, explore, tweak, tune, and have fun with it.
Here is an audio recording from last night’s listening session that captures the revised sound presentation and conveys the sound qualities that exemplify a more organic sound versus a more delineated & resolved sound presentation:
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A recorded timbre translation, from the recorded acoustics conditions trade-off, for some System/room/ears conditions , imply all acoustics factors cues not only spatial cues but the timbre cues also... We cannot separate acoustics factors only distinguishing them , but we act on all of them creating a room because they are all interrelated in the perception and by it. For example the immersive factors imply a relation between the apparent sound source width and the listener envelopment factor, these ratio between ASW and LV imply a time and timing ratio and the relation between different reflections parameters and their directions. A room is a space, and immersive experience imply the modification of the room perceived space for our ears, then a better translation of the timbre tone and spatial cues into our room as not separable... The violonist dont hear the timbre of his violin when he play he dont perceive it as you listen to it from a location in the hall or from a playback in your room ...A timbre perception is always located somewhere in a space-time... In a word, the «the concept of immersive experience in acoustics is closely tied to Apparent Source Width (ASW) and Listener Envelopment (LEV), particularly in the framework of spatial audio quality as defined by psychoacoustic research»
The enjoyment of a stereo system when the sound is between the speakers is very low compare to the stereo system in a controlled room where the sound is around the listener and on some vector lines easy to identify by the ears/brain.
Choueiri called it a naturalistic 3-D soundfield...
Speaking of mere resolution or musicality does not come from acoustics but from marketing review of gear amp,pre-am or dac, tube versus S.S. etc ... Immersive experience in acoustics has nothing to do with that, or very little, because for sure the gear synergy matter as starting point ..
But acoustics experience is not about gear taste but about psycho-acoustics parameters and physical acoustics parameters...
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For example, i disliked all headphone till the day i discovered one able to give natural and realistic timbre and 3-D spatial cues these factors goes together in headphone experience and in an optimally controlled room with a synergetical set of gear pieces...it was the same for a dedicated acoustics room or a well designed headphone (very rare) ...
If i was using Choueiri filters it will be better on my headphone and better in a dedicated room, if i had one like my first one...
This article is fundamental:
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@carlos269 In over 30 years in the hobby, not once have I ever sat down in front of any of my audio systems and asked myself, I wonder how accurately or faithfully this sounds relative to the original commercial studio recording or, to a live, or a recorded live musical event. Many obsess and stress out over these sorts of things in our wonderful hobby. No sweat. It takes all kinds of audiophiles to make the wonderful world of hi-end audio go round. It's all in the game. Happy listening. |
@kennymacc I understand where you are coming from. At almost 40:years in this hobby, I have asked those questions of my systems and those questions generated more questions. As I told a gentleman in one of my other threads, in response to his insistence on “The Absolute Sound”: How does one verify and validate the “recorded truth”? How does one even begin to gauge accuracy when there are perturbations all along the recording mixing, mastering, stamping/duplication and playback chains? In technical terms can you explain to me what a “faithful” reproduction of a recording means? It is easy to through around hollow words, it is another thing to give them technical definition and real world context. |
Very interesting discussion and people aren't arguing. I enjoyed this post.
This post highlights the differences in preferences amongst us. Any opinions of gear by posters on a forum are a reflection of this. So, when someone asks "what should I buy? ", they get lots of different answers. Readers need to understand that. |
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