Well, yes. But it is somewhat depended on where you sit in a concert... and also a bit on the concert hall. I had had season tickets to the symphony for ten years, 7th row center (under the recording microphones... they would lower them when recording). These seats are known as the audiophile seats. Obviously symphonic music it very highly variable. coming out of the silent (40ish) background to crescendos at well over 100db. But for the full orchestra playing... maybe a waltz would be in the 80’s often in seventies for slightly quieter passages. From my seats I would estimate an average more like 70 to 80 peaking often in the 90’s for "louder passages"
If Warmth Is a Distortion, Why Do So Many Audiophiles Still Defend It?
Hi everyone, this is my first post here. If it stirs some emotions — that’s not a bad thing. It means we’re all still passionate about this hobby.
As AI becomes capable of recreating any sound signature — warm, tube-like, analogue, ultra-wide, hyper-detailed, and everything in between — I’m starting to think the real future of audio lies in neutral, transparent, dynamic, and accurate hardware, while many of the “flavours” we chase may soon become software choices.
Over time, a few things have stood out to me:
• Warmth is pleasant, but it’s still coloration.
Beautiful, yes — but not accuracy, not transparency, and not always the artist’s intention.
• Warm gear enhances some tracks but softens accuracy in others.
Especially vocals, piano, violin, guitar, and other acoustic instruments. Some people hear this, some don’t, and some just prefer it that way.
• Modern Class D deserves more respect than it gets.
Many older audiophiles dismiss it based on outdated assumptions. But the latest designs are already extremely neutral, fast, and precise. I’m not sure how much longer Class A/AB will remain relevant beyond nostalgia and brand loyalty.
• Price reflects real quality only up to a point.
Beyond that, it becomes about branding, house sound, and personal bias. Preference is fine — but preference isn’t the same as absolute fidelity.
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⭐ Why I May Not Respond Immediately
This post is meant as a sharing of thoughts, not a debate I plan to defend point by point.
If I don’t reply right away, it’s because I’m taking time to read, think, and learn from others’ perspectives here.
Posting in good faith — looking forward to all views, supportive or critical.
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Yes. Take a SPL meter with you to the concert. I haven't tried an SPL app (can you recommend one?), but my old Radio Shack meter gave false readings when the battery was dying. As for symphonic music, Mozart used a small orchestra. From the 7th row, average mezzoforte levels are about 60-70 dB, forte peaks are probably below 80 dB. Delicate woodwind solos are 40-50 dB. Brahms symphonies and piano concertos have higher SPL's in fortissimo. Do you know the 1st (maybe the 2nd, I forgot) piano concerto 3rd movement which starts with a beautiful cello solo? That would be 30-40 dB at the 7th row. I want to hear the delicious tonality of the cello at home at 40-50 dB. In the 1st row, levels are much higher than in the 7th row, especially high freq which are more absorbed by distance. String quartets are usually performed in small halls, but sometimes in large halls if the group is famous. From the 7th row, 30 feet away, SPL's are 40-50 dB. Only big stuff like Mahler, Tchaikovsky, Brahms, Dvorak have occasional peaks at 100 dB. Regardless of music, if 40 dB doesn't give great detail and interest, I don't care about louder levels required with inaccurate audio systems. That's why I have Audiostatic 240 electrostatics, the original Mytek Brooklyn class D amp which give me the detail I need at modest SPL's. I will hear the line of Final Audio electrostatics at Ravi's home in Phoenix soon. Every other electrostatic and ribbon design has been inferior to my Audiostatic for detail, but the Final has SOTA membrane and driver tech that may better my Audiostatic. Conventional dynamic speakers are hopelessly colored and veiled. |
@jtgofish +1 "Warmth can be distortion but low distortion amps can sound warm." distortions can be specified for many conditions, intermods, speaker mechanical problems, low level, high level, transient sounds vs. voice etc.. for me the higher resolution sound system is, incl. source/pre/amp/speakers sounds “warmer”, there is less fatigue, ignited emotions “want to hear” that track again, no volume crank up is needed to enjoy artist’s work! |
Bingo. Warmth is not the distortion. Warmth is like a kind and loving human voice. That's what many singers want to express in their recordings. The best transparent (no veil) sound systems will sound warm and clear. Alex/Wavetouch audio |
I can understand why so many have different ideas about what warm speakers sound like, and what causes them. I can say that my system sounds very warm. To many audiophiles, especially the detail driven, they will be too laid back. It is not a distortion here, it's a tonal choice. To be warm you have to be smooth though. Some speakers, like Magico, are incredibly smooth but, to my ears, cool. If you aren't sure, listen to Monitor Audio's high end or Fritz, and even modern day Wilsons to some extent, and perhaps even Vanderteen. The opposite of Warm to my ears is modern B&W or Triangle, McIntosh (speakers), Focal. |
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