There is no "HiFI" system that is not coloured in some way. The misnomer of sounding as the arist intended is unobtanium. Nobody, not even most artists have a handle on how a recording should sound. We are humans and have both a limitation and a personal reaction to what we hear. Microphones have never been better, yet they have very real limitations physically and electronically. There is no perfect recording because that suggests everything was captured and can be reproduced exactly as it was played, it cannot. Often, musicians and other contributors were not even in the same country, let alone the same room and yet they could be mastering the recordings for various formats. DSD 512 raw files can sound unlistenable for humans, as our auditory and processing is fatigued very quickly by them, which is why such a DSD file cut to vinyl is often more enjoyable but not necessarily "better" than the raw DSD file. I can testify to this as I have bought several recordings in both formats and the human reaction not just to me, but is often quite viceral to fellow listeners in my room.. I liken it to my work as an engineer with Sony, working on 8K and higher projection system’s and screen resolutions for cinema. When you are exposed to the level of detail our test files were producing on screen, it scrambles your senses as you cannot process all the information that is coming at you. It becones fatiguing and almost nauseating to watch. Back to the sound we hear, all recording and playback systems introduce distortion and colouration. I have no doubt that system matching and room acoustics as well as mood and ambience, even time of day can influence what we humans percieve as the most enjoyable playback systems. I have a mix of vacuum tubes and digital electronics and I am accustomed to how my system sounds. I couldn’t care less what others may think of my system, although it is nice when a visitor feels its touched something in them because I won’t pretend it doesn’t give me a "warm" sense of satisfaction and a little validation but to me it sounds wonderful with most recorded music. And even better when in the evening with the log burner and the valves (vaccuum tubes to my American friends) glowing in harmony. That’s when it sounds best of all. Warm - cold - Analytical - transparent - ad nauseam, to me its all "wine club tasting word acrobatics". Listen to some familiar favourites across genres if possible on a few combinations of equippment, and what your ears and heart tell you. Spend as much as you can afford, pay attention to system matching, speaker placement and your rooms liveliness, you don’t need huge ugly room treatments; soft furnishings rugs and curtains will do a great job of calming a live room and in my circumstances keep accumulating brownie points with the better half. Remember, all recorded music is simply a facsimile and never a perfect reproduction and like it or not the same is true of the reproduction equippment. Now, I think I need me a 10.5" Reel to Reel. Listen to Pink Floyd - Money, it is educational 😉
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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I agree everything you mentioned. I've been saying same things. Also, I've been saying only Wavetouch audio (me) brought a almost perfect microphone which sounds close to the original sound. Below is a cleanest sound Wavetouch audio system playing a cleanest sound recording which recorded by a Wavetouch audio microphone. Alex/Wavetouch audio |
@nubiann very nicely put. I agree with your understanding and statements. It is nice to read someone else expressed what I have been attempting to convey for decades to mostly unreceptive audiences. |
This is true for sure but do not explain why no recordings playback listenings situation can be deemed ideal for all... People are so focused on gear instead of acoustics they reduced "timbre" many constitutive factors to a sum of gear colors added to the color of an instrument, which cannot exist anyway out of any room (hall,studio,listener room ) ... Our music dont come from a gramophone in the jungle room or in the Sahara room or Antartica ice room ... The truth is timbre perception and spatial cues, are always linked , recorded or not in your own room or in Nature, and they play the first role...Not the gear coloring or distorted hues only ...
«Half truth are useful like one leg to describe walking pace»Anonymus one-legged frog
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