Twl is right -- but there is at least one other dimension of subjectivity. Two people listening to two systems might have different opionions of "best". Since every component makes some sort of compromise (e.g., a bit tighter bass vs. a bit wider soundstage) and every listener has her/his own priorities of what is most important, there will be a wide variety of "best" at any price point. The trick is to understand your own priorities, explicitly make the trade-off decisions and then be happy with the best available for your tastes. I have found that people are often unhappy later because they did not acknowledge what they are giving up when they purchased their gear (this is not a price issue, it arises from no component doing everything perfectly). Of course, people also become less happy with their gear as musical tastes change, listening experience increases or priorities change. Good question. I'm looking forward to reading other's responses.
Is it possible for something to be the best?
Since there really is not difinative standard when it comes to musical reproduction, is it possible for a piece of equipment to be the best. Or will there ever be "the best system"?
Live music is the sound we are trying to reproduce but even that varies from venue to venue. I'm guessing not many people have actually had a live band/orchestra play in their listening room so to what are we comparing our systems? Can we trust our memory to acurately remind use what a concert we heard several hours, days, or years ago sounded like? Is it realistic to compare my listening room to a $50,000,000 dollar theater designed specificly for the arts?
I'm obviously not suggesting we quit trying but is this hobby/obsession an exercise in futility?
I've been wondering for a long time if the best componant in a great system isn't the listeners imagination. Any comments?
Live music is the sound we are trying to reproduce but even that varies from venue to venue. I'm guessing not many people have actually had a live band/orchestra play in their listening room so to what are we comparing our systems? Can we trust our memory to acurately remind use what a concert we heard several hours, days, or years ago sounded like? Is it realistic to compare my listening room to a $50,000,000 dollar theater designed specificly for the arts?
I'm obviously not suggesting we quit trying but is this hobby/obsession an exercise in futility?
I've been wondering for a long time if the best componant in a great system isn't the listeners imagination. Any comments?
- ...
- 27 posts total
- 27 posts total