How close to the real thing?


Recently a friend of mine heard a Chopin concert in a Baptist church. I had told him that I had gone out to RMAF this year and heard some of the latest gear. His comment was that he thinks the best audio systems are only about 5% close to the real thing, especially the sound of a piano, though he admitted he hasn't heard the best of the latest equipment.

That got me thinking as I have been going to the BSO a lot this fall and comparing the sound of my system to live orchestral music. It's hard to put a hard percentage on this kind of thing, but I think the best systems capture a lot more than just 5% of the sound of live music.

What do you think? Are we making progress and how close are we?
peterayer
This is incorrect. The Ampex 351 tape machine, used by both RCA and Mercury (and a host of others) has a zero-feedback recording circuit. Neumann microphones use small tube preamps which are zero feedback. I can go on but you get the point.
Sorry Atmasphere, but you're mistaken - recording, mastering, and broadcast equipment all does indeed use a variety of "feedback design techniques and circuitry, going back to almost the very start of electronic recording," as Fas42 states. Specifically, the Ampex 350 and 351 used frequency-dependent negative feedback in the cathode circuit of the record output tube, and negative feedback around the playback head amplifier for playback EQ. Additionally, the 351 had a push-pull (12AU7?) transformer-coupled line-output amp with a separate feedback winding for global NFB, very similar to a little transformer-coupled power amp.

And then there's the record cutting lathe - virtually all high-fidelity cutting heads use negative feedback from a separate winding to provide global negative feedback from the motion of the cutterhead back to the cutting amplifier.
Do Ayre and Pass use zero feedback desings in their amps? I only know they sound really good.
Hi Kirkus, I just pressed on your system and I'm so happy I did. How very cool! To saner times...
Hi Kirkus, that was not what I recalled so I looked up the Ampex schematic... Its not the record head that has feedback- prior to that the record calibration circuit does use a feedback mechanism. The rest of the circuit has none.

I did think about the playback after posting :/

Of course LP lathes do use feedback, primarily used to control resonance. You can't get channel separation in a Westerex 3D, for example, if you don't use feedback. However there is work being done to this day to try and find a way around that. Apparently feedback is not popular with mastering engineers and for good reason: if the electronics even turn on in the wrong order at power-up, the cutting head can be destroyed.

I have a set of Western Electric mic preamps that are zero feedback. I pulled them out of a dumpster about 30 years ago and boy am I glad I did. They are really transparent, after being updated with Jensen transformers and otherwise rebuilt.