But I guess the question is: How do you know that the sharpness of the guitar or the leanness of the vocal is the fault of the recording, rather than the fault of the equipment?
I suppose one can make the argument that if some recordings sound good on a particular system, while others do not, then the fault must be with the recordings.
But then again, perhaps the problem is with the system, and a better system would not only resolve the problems with the bad-sounding recording, but also make the good-sounding recording even better.
I believe that most of us who have a deep financial/emotional investment in our systems would rather assign fault to the recording, rather than admit the possibility that the problem is with the system.
Perhaps a "sharp-sounding" guitar comes about because a recording engineer has "pushed the limits" in order to try get veracity on the recording, but this will be revealed on playback only by components designed in a certain way, and not on components that sound great with certain recording techniques.
Perhaps, in thinking we are overlooking the inadequacies of the recording in order to enjoy the music, we are actually overlooking the inadequacies of our systems?
I have plenty of cds whose "problems" (or what I thought were problems) have been cleared up as my system has improved. This has made me less apt to question the recording, and more apt to question my system. So, I think the question is valid: When we assign fault to the recording, how do we really know?
I suppose one can make the argument that if some recordings sound good on a particular system, while others do not, then the fault must be with the recordings.
But then again, perhaps the problem is with the system, and a better system would not only resolve the problems with the bad-sounding recording, but also make the good-sounding recording even better.
I believe that most of us who have a deep financial/emotional investment in our systems would rather assign fault to the recording, rather than admit the possibility that the problem is with the system.
Perhaps a "sharp-sounding" guitar comes about because a recording engineer has "pushed the limits" in order to try get veracity on the recording, but this will be revealed on playback only by components designed in a certain way, and not on components that sound great with certain recording techniques.
Perhaps, in thinking we are overlooking the inadequacies of the recording in order to enjoy the music, we are actually overlooking the inadequacies of our systems?
I have plenty of cds whose "problems" (or what I thought were problems) have been cleared up as my system has improved. This has made me less apt to question the recording, and more apt to question my system. So, I think the question is valid: When we assign fault to the recording, how do we really know?