Garrard 301 - Project

@lalitk @pindac  I appreciate the concept of the Envelope. Yet, when I use it as a factor of critique, I instinctively add a fourth parameter–the level of blackness. That is both the contrast between silence and the first appearance of the next envelope, and the amount of definable absence of interstitial noise between each envelope. I find that it presents itself as how saturated the color of the music is with black. This is not to be confused with darkness wherein the presentation may be dull. Think of it as the increased resolution of what heretofore could not be perceived. 

@noromance 

I really love the way you framed blackness, it’s spot-on. When you talk about “blackness,” I know exactly the quality you’re pointing to cause that’s the hallmark of any great sounding audio system. It’s that almost eerie stillness between events, the kind of silence that heightens everything that follows. It’s clarity, saturation and contrast all working together to reveal things you didn’t even know were on the recording. 

Your “fourth parameter” actually captures a refinement most listeners feel but rarely articulate. It’s a beautiful way of pointing to that final layer of realism, the micro-details and spatial cues woven into a recording that only reveal themselves when the noise floor disappears. It’s a subtle insight, but once you hear it, you can’t un-hear it.

It is easy to overlook the influence of a recording engineer, and their sitting at a consul with an artist/artists bringing the work to the place where it is felt it conveys energy that is the most revealing of the story / message being presented. There is a relationship between artist and engineer, and when the artist can yield and give up their control and allow the engineer to bring in their own flair, is where magic is to be discovered in a recording.    

I have over the years concluded for myself, that when the recording was being  experienced as a replay for being at its most articulated, was the same as being in the studio with both engineer and artist when they were generating the wanted impact for the performance, both artists and engineering have been in parity in bring a creative content. 

I am confident on many occasions when using and being demo'd certain designs for a Analogue Source. I have been hearing the Performers contributions assembled to create the recording. What is missing is the influence of the engineer on the performance, which is perceivable as being withheld remaining under the surface. This as an experience does not prevent in any way a music encounter that is not to be enjoyed. It is just that when the overall experience is supported with an experience only describable as being very very honest and aligned to the intention for the production, this as the perceived experience has substantial attraction. 

With an experience only describable as being very very honest and aligned to the intention for the production. Also brings into the equation a interest that sits comfortably in conjunction with the regular usage of the Source. An unavoidable  fascination is to appear, being  thoughts on how such a good impression can be eked to further betterment.

In my case and a few close friends having similar experiences, the fascination was all about the signal path for the produced signal and how it was transferred to the Phon', through the Phon' on to the Power Amp. 

It is not a secret, that I am able to use a selection of ancillaries to receive the signal and create End Sounds. When the Source presents to a certain standard, versions of End Sounds are attractive over one End Sound, differences detected in the sound being formed become much less discriminated against.