I think we tend to forget about the vagaries of an actual acoustical presentation and the coloration endowed by the hall. For instance, my wife and I attended a solo piano recital a couple of nights ago. We knew the hall, we knew the performer, and it was one of two Steinways used in the hall, both of which we also knew. But there are contingencies--audience size, hall size, curtain across back of hall open or closed, the way the pianist voiced (not to mention the way the piano tuner voiced the piano), seat location, all kinds of variables. These all affect how we hear, in real live music, qualities such as attack, decay, envelope, stage, etc. that we as audiophiles use in evaluating components.
But what was very nice was when, a day later, I put on a cd of Peter Serkin playing some Wolpe , Lieberson, et al. It was just like being back in the hall. That's what the 3.7s do for me.
But what was very nice was when, a day later, I put on a cd of Peter Serkin playing some Wolpe , Lieberson, et al. It was just like being back in the hall. That's what the 3.7s do for me.