My version: "Listen with your heart, not your ears".
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Yes, choosing musically satisfying components as opposed to analyzing the level of detail and slam as your primary criteria is a great way to get a musically fulfilling and satisfying system. The trick is developing the skills and experience to do it.
The gist is know what real acoustic instruments and music sounds like and try to listen to the music and not the components when auditioning. Once again, easier said than done.
But for me. “The trick is to end up with gear that is so completing and alluring, you simple cannot imagine something could sound better. Happily that is where I am… although I know it is possible.
Over the decades, I have been afraid to change or part with it… because of the chaos that might, and did ensue. To me, I am in the better of the two.
Yes, the music is paramount. But it has to sound good. My breakthrough was when I realized that everything sounded great on the system. The days of only seeking out the best recordings on the quietest vinyl were over. Particularly striking are 50s and 60s recordings. It took a while to get here. It’s a small yet significant achievement.
....excerpts from The Test; The Chemical Brothers...
Although based upon 'another sort of experience', presently coming back into...
....well, 'application' v. 'popularity' would be more 'correct', but....given current circumstances perhaps not totally surprising.....😒
...music as an hatch, marked Escape.....
It's a balancing act. Musicality for the heart first but it has to please my ears too. Hence, for music lacking in recording quality, I use the loki max for digital sources and the Puffin for my secondary TT. My primary TT is the only source I can't equalize, because I don't need to. I only play top recordings there, about a third of my LPs.