@rauliruegas, Once again, you are very smart. It is easy for me to utilize my experience as a musician to note my observations. But it is remarkable that you come to the same conclusion I do. We could ask a good listener who has had no indoctrination from audio forums, what he hears. Such a listener will say that all audio systems lack the clarity, snap, sparkle of the real thing. When I travel and hear street musicians and singers from 10 to even 100 feet away, I know that live unamplified music has the snap and excitement that is lacking in most audio systems. I could hear a large gong bell from a town square and wish that I could say to audiophiles hearing this that the gong bell doesn't sound warm at all. Same goes for the bus trolley with its HF sparkling bell. Get aboard, all you preference types, don't miss the bus!! Don't miss the boat. You are throwing away the baby with the bathwater.
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Many older audiophiles dismiss it based on outdated assumptions.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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@onhwy61 You correctly admit that the conductor hears everything. Even the conductor hears more than I do from the violin section, with the best balance that he/she creates. Why should the audience be deprived of hearing all he can? Logistically and financially, most will be deprived of that. A-philes will say the 7th row is the best, but there are severe compromises in the 7th row in loss of HF and other aspects of tactility of instruments and singers. In a typical hall, I am unhappy with all but the few center seats in the 1st row. Even the 2nd row has loss of sparkle, palpability, etc. My best sonic experience as a nonmusician was in 2005 when I heard jazz at Preservation Hall in New Orleans. It wasn't a "hall" really. It was a cave with rock walls, 2 or 3 benches. The brass instruments were blasting in my face at reasonable volume levels, thrilling. The upright piano in the back of the stage, still only 10-15 feet away was jangling fun. More generally, all musicians produce noises that are not written into the score (printed music). The skillful musician knows how to integrate the noises into the total sound of the instrument. The audience doesn't hear most of the noise, but they also lose much of the music itself. When hearing a triangle, do you hear just the chime, or do you also hear the metal being struck? Both are important to hear. |
I agree. That’s why I share my live recording. Please share those who can. Alex/Wavetouch audio Katie Melua - Wonderful life, Wavetouch audio live recording |
Interesting post. In a perfect audio world, everything would be flat response/wire with gain/neutral. Then a component not in existence yet would have countless options for desired “colored” music or live vs studio sounding and had an equalizer built in for further tuning. Would also address those of us who like both colored and highly accurate sound, based on different music and recordings, from having to have multiple systems. Perhaps one day. |
You asked for a SPL app and I can recommend the app from the National Institute of Occupational Safety and Health (NIOSH) that is free, easy to use, and downloadable from the app store for either IOS or Android smartphones. NIOSH Sound Level Meter I too have the old Radio Shack sound level meters, analog and digital models. Both still work but I only very occasionally use the digital model with several different measurement CDs mainly because I already own a general-purpose tripod into which I can easily mount it. I notice some discrepancies in measurements between the RS meters and the NIOSH app so do try both to understand that in your use. Since I am not yet using REW (though I have it) I recommend understanding a base line value using the NIOSH meter for qualitative measurements. I have not yet purchased a calibrated mic to use with REW, but it is on my list. With any method please be aware that taking a measurement in a darkened concert hall might be seen as *highly discourteous* to other concert goers when the meter or phone lights up! Caution is advised.
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