What Does 80 Grand Get You Nowadays?

If $80k doesn’t provide for a fairly uninhibited*, transportive musical experience in a home setup, nothing will. For that amount of money one should, or certainly can have a full-range spectrum (honest 20-25Hz, at full tilt, on up), practically unlimited dynamics, close to fully scaled, sublimely resolved, highly transparent, coherent and tonally natural presentation. With gear bought used, incl. a DIY-approach and an open mind with regard to (pro) gear segment - much cheaper than that. 

People who believe top level audio audio gear and sound can only be had from known high-end brands in new condition and latest design iteration, in addition to a variety of self-imposed restrictions (incl. interior decoration/aesthetic demands) and a dogmatic/conservative approach to audiophilia, are likely to find it difficult coming to above mentioned conclusion. However if one really wants to there’s nothing than yourself holding you back from achieving sonics as described, and at a less than stratospheric price level. 

*By ’uninhibited’ I mean what’s referred to later in the top paragraph.

We can attain audiophile experience at 1000 bucks level for a system nowadays...

I call it the "minimal acoustical satisfaction threshold" which is reached when all acoustics factors which are markers of the experience  indicate a relatively balanced ratio between them for a given system reaching his potential when we know how to optimize his workings..

Anything else is snobism and ignorance...

There is also an optimal level at some higher price and a maximal level somewhere between 1 million bucks...

I know  only the minimal level for budget reason...

But if i can optimize a low level System/room at no cost i can do it with money with any system at any price ...

Tastes cost a lot but learning cost nothing....

@@lanx0003 

Interestingly people restoring old gear are using the new generation of small powerful computing boards to mimic the operation of old unique DIP IC's that are no longer available except by raiding another of the same model (this happened a lot in the 1980's)

I think it's really pretty cool what can be done for a fraction of cost of reproducing the original silicon.

I think it’s really pretty cool what can be done for a fraction of cost of reproducing the original silicon.

@tomrk 

Yes - and it shows once again that when demand exists, someone will step up.

As you mentioned, old, hard-to-find SIL opamps can be replaced with tiny adapter PCBs on which you can solder any modern, 90-cent opamp that is not only widely available but has far better specs than the original.

An open-hardware project on DIYAudio lets you replace the notorious STK power modules - the bane of classic 70s receivers - with compatible amp boards populated with proper discrete components, ensuring those silver-faced beauties stay with us another 50 years.

The one thing that’s not being replaced fast enough is competent techs. But, the runaway success of the aforementioned diyaudio.com and of countless other DIY sites shows that increasing numbers of folks - including yours truly - are taking things into our own hands.

The impetus for starting this thread was the realization that my system, humble as it is, outperformed (sounded, to my ears, better than) a $80K new, Wilson Audio-based system.

I also said my system cost me $2,300, but in the interest of full disclosure it took me a considerable amount of time to repair or restore non-functioning components bought at a very steep discount. If I’d had to farm out the work at $100 / hr, my cost would be an order of magnitude higher.

I recommend audiophiles learn to service and repair their own gear, time permitting. It’s fun, it’s empowering, and it’ll save you tons of money!

People who believe top level audio audio gear and sound can only be had from known high-end brands in new condition and latest design iteration, in addition to a variety of self-imposed restrictions (incl. interior decoration/aesthetic demands) and a dogmatic/conservative approach to audiophilia, are likely to find it difficult coming to above mentioned conclusion. However if one really wants to there’s nothing than yourself holding you back from achieving sonics as described, and at a less than stratospheric price level.

@phusis 

Great points.

Mindsets and beliefs related to audio and gear are cyclical. For instance, 50 years ago lamp cord was considered just fine, so fine indeed that power cords were permanently attached to components. Now the pendulum has swung all the way the other way, but as more and more folks realize the absurdity of spending as much money on a power cord as on the component it’s attached to, attitudes will continue to evolve and the zeitgeist revert to the mean.

It’s doubly interesting what you say, because 50 years ago pro and "audiophile" gear coexisted and were often interchangeable. McIntosh made both the pro MC2200 and hifi MC2205 - different face plates, same exact amp; it was OK to have a Crown amp powering your living room system; and so on.

Even today, gear closely related to pro audio is actually sought after by audiophiles, as long as it presents in appropriate audiophile clothes. JBL Summit series, Bricasti, Bryston, Yamaha 5000 series, etc. Can the days be far ahead when things go full circle and pro gear is widely embraced by audiophiles? As always, education will help sort things out.