Damn, pbb, you've become a dry hole...and, thereby, have made me one (!) (fade in: rousing shouts from the gallery!!).
So, if you are not a Tarpon, and dogs have souls, and the orientation of the mind creates the mind that then listens to the next note, hearing the Silence a bit more between the notes, then what "are" you then?
Hmmm.
Hello Muralman! Goodbye 6ch and twl, til meet you fishing next time!
BTW, we have notes and what's between notes, or sound and silence. But, what comes first? Is it an irrelvant question in the context of how we build our stereos, and to what is the most "important" component?
I don't think so, and here is why in the context of what component is most "important" at any given point on the curve of learning to listen better. It isn't sound-then-silence, like flipping from one to the next, because, even using the causality laws of physics, one must precede the other; and, thereby, be the causal ground of the other. It is: notes ARISE out of silence.
So, if silence is prior to sound, don't you think its "important" - as in, determitively important in the first instance, the first causal instance - that silence, or dimension, be a priority of a component?
And, lo and behold, isn't it the feeling of dimension/space/continuity that is the Grail of the best stereos? Maybe one could then counter by saying that the sound is equally important as silence, and that's true, but in the best systems, isn't it the act of INFUSING the harmonic, as its ground, deeper and deeper, which makes it "better"?
twl, when you get a "better" TT and harmonics become "better" within the core projection of voice, isn't it 1) the continuity of the projection through space getting better, and 2) the harmonic progressively infused with a ground of air/space/dimension that has improved to the most appreciable degree, even within the projection itself, and therefore, becomes most "important"?
Just some ideas thrown out. :0)
