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:
 

The Way It Goes

 

carlos269

@audio-b-dog @dsnyder0cnn  @atmasphere One thing that is common knowledge is that mastering engineers master the commercial audio recordings for mass consumption, so that the recordings sound good over the airways in cars, on ear-buds, on headphones, and of course over loudspeakers. The mastering for mass consumption leads to compromises and trade-offs. When someone such as myself, and other users of HQPLAYER for example, reprocess the commercial releases, we are doing so with our personal preferences, the playback system and method, and acoustical environment space in consideration. The commercial releases are generic for the masses, while the adjusted source material is bespoke for individual use.

 It is also common knowledge that some mastering engineers are aiming for the best possible results for playback on quality reproduction equipment.  The recordings for "mass production" have been recorded to sell copies since the days of am radio's dominance and mono recordings for car radios..  It has now evolved into the loudness wars.  For today's markets many of the buyers could not care less about sound quality as it is more about collecting the cool looking albums. 

Great post!

I think as yopu that the room must be controlled to serve the system/speakers and our own ears/brain...

When i listen i want to feel the acoustics information from the live event  translated by the trade-off choices perspectives of the recording engineer and perceive them in my room "resonating" conditions around me not in front of me between the speakers plane ..I had this in my first room...not in my smaller one now in nearfield listening so good it is...

The same is true for headphone, which i dislike generally, because very few are speaker like with an out of the head perception (The K340 optimized do it well ) ...

 

There are two schools of thought; those that want to be transported to the venue, whether it be a live performance or in the recording studio...,

and those who want to transport the venue to their listening room.

I am of the latter, and this is largely dictated by the room which is close to 5,000 cu ft.  And, though symmetrical, with the exception of the two openings to one corner, the shape does not lend itself to optimal acoustics.  Some have said that they have never been able to tame such a room.

"If you can’t beat them, join them."

 

 

I forget to say that i like the sound i can perceive of these speakers through my system...

 My OKTAN6 ultimate horn system is a six-way system where each driver and horn is well within their specified design parameters for the range of the frequency spectrum assigned to each of them. The super-tweeters are good to 30KHz.

 

@carlos269 u

Most of the music I listen to is well recorded. Almost all my classical is, even albums from the sixties. Jazz is often decently recorded, although sometimes live recordings tend to be flat-sounding. Coltrane's great recording of "My Favorite Things" from "Selflessness" is very bright analogue recording. Not being a recording engineer I don't understand why.

When I'm streaming (often classical) I look for Hi Res recordings and they are not as flat as lesser recordings. But I have also learned "willful suspension of disbelief" so I am able to enjoy CD quality sound. And some CD's do sound damn good. Whether you like her or not, Diana Krall CDs are excellently recorded. 

I am at my computer in the mornings and I listen to my turntable. No doubt, a record is simply more present. In the afternoons I stream music on a Moon 280D, Moon's least expensive streamer, but it is very musical and that's the most important thing to me.