Which doesn't preclude you calling a group of people "talibans" when they don't share your approach and/or opinions.
That all makes sense but there’s still the question of what has to be ‘right’ or even wrong for that matter......it might very well be a certain combination of wrong that adds up to right! Yah...on the third cup this morning!
Could be, audiophiles like distortion, well known fact
I feel it's ok for me to use the word audiophiles because I am one now according to Pavel
Attachments
It's impossible without FoobarABX. When we perceive that something is musical, we just feel it so, we know we don't fool ourselves, but when we have to ABX it, there we have null results. With FoobarABX I have to work very hard to find differences. People said 'listening with a different way', listening at 'peaky voice', listening at crescendos, etc. etc. Once the difference is found it is easily repeatable. Fast A/B switch I think has little benefit if any. But with ABX we can go back and forth to play critical short passage to make sure that we really hear the things.
That all makes sense but there’s still the question of what has to be ‘right’ or even wrong for that matter......it might very well be a certain combination of wrong that adds up to right! Yah...on the third cup this morning!
Right for me is evening time, jobs all done, time to relax with my choice of music and no more Raffi for the evening
. Good booze and good company help in my case.Well you have 3 so one can be with horn, one with a mic shoved into the diaphragm outlet and one with a tonearm
Yep, yous got all the ducks lined up nice and sweet on that one
I must say I am really intrigued as to how much information is there in the recordings. The wax cylinders are in a terrible condition due to flood damage induced mould, but it is a collection, and as such, has some local historical significance. Even so, I am not particularly bothered by the prospect of a high noise to low signal rate, this is sonic time travel we are talking about. If I get everything right with just three really excellent recordings off each cylinder, then I will be in heaven. This is where digital really shines.
ToS
Right for me is evening time, jobs all done, time to relax with my choice of music and no more Raffi for the evening
I was thinking technically right or wrong
But aesthetically your way sounds good too......there again apples and oranges.
This is not true: people hear what they want to hear: a guitar player may not care about any difference in A/B test of a DAC, but he sure can pick apart the tone of different brands of strings, even if they were of the same gauge and the same winding technique. Even more subtle, the wood, the glue, the age, etc., all contribute to the tone of an instrument.
There's no measurement I know of at this time to quantify the tone value of an instrument. Go ask the Stradivarii guys.
The Czech Philharmonic as an orchestra is something very special. My wife used to sing with the choir of the uni, and they constantly struggled with the various "backing groups" they used, ranging from the musicians having issues to stay in tune to utter disinterest and boredom. Until the day they invited the Czech: what a performance! The focus, the concentration, the energy, the execution are well above world-class!
The contrary would have stunned me.
About old recording.
In the 1960s and 1970s, tube technology had reached heights. And the euphonic quality of some microphones (Neuman U67 for example) remains unmatched today: They are still used as pearls in a lot of modern studios.
Those lucky enough to have heard how a Mc Intosh tube amplifier sounds will understand what I am talking of. A fluid and warm transparency that never seems to be at the limit. Rolls-Royce.
I notice that, if they do not have the razor sharp definition of some digital productions, the good recordings of this time can be, still today, remarquables of naturalness.
I quoted the Dave Brubeck "Take five".
And that they can cross poor quality reproducing systems with less destruction than most of modern recordings.
More than this, they seem to compensate this feeling of "sterile" sound that some report about digital. Reason why many audiophiles build a tube stage as the analog stage of their ultra modern DAC ?
I think we still have good days ahead of us to fight against crossover distortions, and the new negative effects that the miniaturization of some SMD components introduce into our modern circuits.
That’s because nobody cares enough to do it. Otherwise, identifying the “tone” of an instrument is an almost trivial FFT exercise.
The tone value, that is a different story, no measurement would a priori determine that. And will never be, except if somebody would be able to statistically correlate the sale price with the tone properties, as above. Unlikely.
Thank you, I will transfer your message to my friend, he and the whole ensemble will be very pleased. They also do care quite a lot who is the conductor, which makes them, as an orchestra, not very easy for the conductors.
Though I understand what you mean, this may be a semantic misunderstanding of Zung's post. Remember we are from everywhere of the world.
Same meme posted multiple times in replies to different people:
https://www.diyaudio.com/forums/the...wtorch-preamplifier-iii-2222.html#post5825395
The guy in the pic doesn’t strike me asa Tibetan monk.
i don't call a "taliban" someone that share a personal experience different from mine. On the contrary, I try to learn something new from him.
I call talibans people that want to impose their religions to others. Even If I can share their opinions on a given subject. Which, (strangely ?) does not happen so often. "Science without conscience".
They are easily recognized: they hunt in packs, make lawsuits of intent, and use violence.
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syn08,
The value of a high priced acoustic instrument is mostly due to how it sounds to the musician playing it - not the audience.
For example, there are only 27 Stradivarius violins left known to exist. Each have their own unique sonic character, and in the hands of a lesser player some are almost impossible to play. All of them will sound fantastic in the hands of a gifted player. This is because that in the right hands a great violin will open up a zone of creativity not possible in a lesser instrument. The audience is not so much aware of the tone of the instrument, but the intent of the player.
It is that intent that opens up the music for the audience. The violin is what facilitates this, and is partly why they cost so much.
A great violin will always sound mediocre in the hands of a mediocre player.
ToS
That's a gross over simplification, worthy of an EE: measuring the harmonic content at one single instant "t" and call it a day. You may be getting there if you included all the slices of time from before the bow strikes until well after the last decay, then do it all over again vary the force of the bow.
Btw, I had been an EE too, but I know and acknowledge the limit of engineering...
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