You speak as if you are certain of this.
Its not possible (in your opinion) because......why?
uhhhmmm..the time/space 3d reality issue? The molecular energy transfer issue? Thermodynamics? Brownian motion?
I mean, is there any fathomable reason to state my argument from a 3d-timesapce reality standpoint, which is the arena we are operating in here (presumably)?
energy translation from one system to the next, is lossy.
No compensation system can fix that, it can only falsify.
a perfected system of electronic flow, translation, and representation, if perfected as much as can be...... is inherently lossy according to the rules or molecular fundamentals of it’s operation. A perfected system controls that lossy bit’s intrusion into the scenario, as much as is possible... and it ends up as stated. Slightly darker, slightly slower. imperceptibly so.
the problem is that... we can theorize that perfected slightly lossy system, but can’t really get there as the interference or integration problems with the fundamentals that create the distortions all have temporal constraints of one type or multiples of them. Temporal or phase related, they be.
As soon as you have two particles in proximity and in integration of some sort...instead of one particle on it’s own... this is your fate.
I hold these things to be self evident to the electronically and scientifically well trained who might find themselves in the world of audio.
Any other answer would be illiterate, ill informed, or purposely ’off’ for some given reason (openly stated or hidden).
An audiophile, will, of course (some, anyway), throw money at the first ill informed person who ’gives them more’ ..in the arena of more detail. Which is more usually more distortion of some sort. This is how we end up with entire swaths of gear that are incompatibly screechy, and we end up with systems that drive some right out of the given room. Each piece competing with the last to be ’more revealing’.
wizened audiophiles step away from that stuff and look to the item that is more revealing an at the same time more harmonically rich, more warm in complex textures, more subtle in those aspects. Not screechy overly detailed soundstages that only a madman would call musical. Real music is brash and potent,and unbelievably potent in the transient domain. But is almost never ’bright’, if it is a live acoustic instrument. Neither our brains, the musical instrument, or acoustics -is wired that way. Reproductions tend to fail in delivering these subtle time signatures and rich harmonics in micro/macro transient functions and smear those subtleties and get dark and obscuring and at the same time adds noise as an overly in everything it does. Inescapable phase issues and molecular noise. The reality gig pressing itself into the scenario -- an unavoidable carrier of the reality we know..
In the real world, you can stand beside a drum kit that is being played and have an actual conversation. that’s transients, and low distortion, large and wide dynamic range and noise floors. Live acoustic. Reproductions tend to utterly fail at this all important set of related functions. our systems (seldom heard but they have been to a few shows) can do this incredibly difficult set of tricks. Speakers with such low distortion in critical areas (as a set), that a speaker builder type guy borrowed a set, and blew a driver for the first time in his life. He never heard the limit coming. Not even a hint of any familiarity to hang his educated hearing on. One time we were playing a reggae record, with 126db transients. (simple 3 way- living room type space, treated) we sat at the coffee table in front of that....and talked. Not yelled, but talked. This was all approx 20 years ago. But I digress...we’re not ready to sell that to anyone, yet.
