The eternal quandary

Twoleftears,
I have to agree with you right down to your every word. Your experience is also mine, but it took me quite a couple of years to understand what was going on, I must say.

This is a wonderful thread. Its a state of mind for me:
State 1 - If I focus on the quality of the sound, then I only select the best recorded material to play and search for weakness and strength in the system. This is a good place to be if you are ready to spend. Its a lot of frustration and a lot of fun.
State 2 - If I have reached an upgrade plateau, I enjoy the music, and the various aspects of sound quality just add to the fun, but poorly recorded yet wonderful music doesnt detract from the pleasure too much. This is the budget state to be in.
The trick for audiophiles is being able to condition your mind to move to the desired state, generally from 1 to 2, and thats not so easy.
When you get carried away with a musical experience in your car for e.g., its because you are in the right mood, have the right music, and arent critically analysing the sound quality. You are focusing on the art of the music, not the science of acoustics. Its state 2, and it is great.

Mike--I totally agree, but as you say, it's a mental trick that may be easier for some of us than others. Even if one starts out a session in mental mode #2, something can happen that jolts you out of it. That's the experience that started this thread. You may just want to enjoy the music, but when you put on a particular recording (especially one that you don't know), something may happen sonically, good, bad or just strange, that attracts your attention sufficiently to knock you from #2 to #1. And that's when the second-guessing may begin...

Twoleftears: I'm not sure how your comment responds to mine.

Of course there are differences in how recordings sound, depending on what the recording engineer is trying to do, what is emphasized, etc. And of course, the more resolution in one's system, the more these differences will stand out. The question is this: When you hear something that doesn't sound good (sounds harsh or distorted), is this the fault of the recording, or is it the fault of the system?

What I am talking about are recordings about which one instantly says upon playing it, "That doesn't sound good, and the reason is that it is poorly recorded." For example, one or more of the instruments appears to be distorted, or the sound of one or more instruments is harsh. ---I am sure that all of us have had this reaction from time to time. I have said it many times myself about specific recordings. I have also been witness to it first hand in the living room of a very highly respected audio manufacturer.

My sense is that the better one believes one's system to be, the more likely one is likely to pin the blame on the recording, rather than on one's own system.

And the question is: Which is it? My sense is that there are very very very few recordings as to which, during the mixing process, the recording engineer heard the bad things that you heard, but somehow unaccountably pronounced it good and ready for pressing. And the question becomes: Why did what sounded good to him end up sounding bad to you or me?

Mike60: It's interesting that you choose the "best" recorded material as the way to challenge your system. I think it's equally useful to choose material that you think is "poorly" recorded as a way to challenge your system. My guess is that one very good way to measure improvement in your system is when the sound of the "poor" recordings changes from poor to good.

Jimjoyce, when I evaluate new components I often take along recordings that are flawed in some way. For example, the system should expose an overly sharp guitar or lean sounding vocal. Its a good tool to see if the boundaries are defined. I did that with all the equipment I own.
I suppose at home when you I am being an 'audiophile' I really tend to select great recordings to show what the system can do - the optimistic approach. If listening to music, I select great music despite the recording and you have to be mentally disciplined to listen without critical ears, or the experience is ruined. i.e. let yourself be carried away with the art.
Twoleftears, agreed. The modes are very blurred, and its easy for to become critical again. I suppose if you keep reverting to being critical, you are bound to end up upgrading.