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@mahgister : " does not means that there is no acoustics concepts behind all these different choices. "
I never said " there is no acoustics concepts behind " and as a fact I " said " the other way around when I posted that agree with @mapman @hilde45 .
Btw, just think why you can't argue against ( inside MUSIC reproduction at home ) what other gentleman likes. Maybe you can say: " is wrong or way deaf " but these are no true arguments against that " I like " of that gentleman even if you don't like what he likes/taste. R. |
How do you match a speakers and a desk when putting a tuned load on them for example without acoustic response by the room, you need the room response perceived by the ears/brain which will add or substract 100 gram from the damping load to reach more "musical" timbre experience result and so optimising the damping tuning process ? How do we know that an electrical match exist as optimal at the end between two components ? if not by acoustic interpretation in some room and not in another and for some location ? Electrical specs compatibility does not tell all the story, neither mechanical matching ... We need the three working dimensions , and the more important one is acoustics ( not mere room acoustic but also psycho-acoustics concepts) "component matching" are always electrical,mechanical and acoustical matching ... They go together ... Because musicality experience is not a taste after electrical specs matching, it is the convergence of three type of working dimensions controls... Acoustics being the more fundamental ...
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Let's look at objective measurements of four audiophile-grade amplifiers mentioned in this thread as "musical" (some of them may be not exact model mentioned, yet shall be close enough in "amp family sound"): https://www.stereophile.com/content/plinius-sa-reference-power-amplifier-measurements https://www.stereophile.com/content/plinius-sa-100-mkii-power-amplifier-measurements https://www.stereophile.com/content/leben-cs300-integrated-amplifier-measurements All of them would be characterized by objectivists as highly distorting. And yet these amplifiers find many buyers who consider them thoroughly enjoyable. At one time or another, this or that authoritative reviewer would call them musical. There could be many common perceptual phenomena at work, as well as individual hearing system differences. Also, preferred most often listened to music genres, and even specific artists. It is no different from widely differing preferences in food, wine, closing, cars etc.Yes, there are common qualities that have to be present in all of them, yet it's the differences that make them unique enough for a specific buyer to choose. I once had a conversation with a man who is both an accomplished audio gear designer and a successful businessman. He keeps multiple authentic vintage audio systems, almost all of them objectively highly distorting. Why? Because each of the systems is best for reproducing a specific genre of music originating in a specific era. If one wants to hear the artist's intent, he better listen on a system that this artist used to approve the master mix. So, my take is that "musical" has correlation with objective metrics, yet is heavily influenced by specific individual hearing system peculiarities, and specific gear that specific music piece was recorded and produced with. |
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