The Method of Tuning

On this thread it's time to compare 2 systems to see who's would be the best at playback.

System (A) or system (T)

System A consists of any combination of discrete componentry plus "factory tuned" speakers we choose with a $1,000.000.00 limit.

System T consist of a limit of $200.00 for receiver or integrated amp, $50.00 for CDP. $6,000.00 for tunable speaker/sub combo and another $6,000.00 for wires, cables, platforms, tuning blocks and acoustical treatments.

A couple of times on this forum comments have been made that there is no way the budget system can out perform the all class A million dollar all star system, but in doing the actual setups over the last 20 years system "T" has been chosen over 90% of the time (the 10% never took the challenge serious).

Your thinking "how can this be"? Well look back at what an audio system is. An audio playback system is an electrical, mechanical and acoustical audio chain (including environment), that host a variable signal. The signal itself is tunable because it is being hosted by physical conduits. When you have a system that is variably tunable playing a variable signal you are able to "tune" the system in to the signal, and the signal into the system. It works just like tuning instruments. When your looking at strictly performance, the best sounding componentry are the pieces that get along with the fundamental forces and not against them. A system for example that is in-tune and 3db up doesn't need over built crossovers, or chassis or heavy parts, it simply needs to play and play in-tune with the recorded code. If you tune your system to your recording and room, you will have an accurate reproduction of the performance.

HEA's version of playing music isn't necessarily the highest level of performance. In fact in most cases the HEA mega over built high buck systems have limitations that you don't find with "system T" types. One of these limits is when we are dealing with signal/field interactions. Another one is vibratory structure matching. And a huge one is speaker/room interfacing. HEA created a world that isn't needed to playback recordings more accurately and musical. Remember, not too long ago folks were saying "Kill Vibrations", "make a dead room" and "shield magnetic fields". All of these subtract from a recording's signal. These aren't necessarily bad things if your trying to focus in on a particular part of the recorded code, but if your wanting to open up that same recording you will need to be able to go in the opposite direction. In other words we're squeezing and opened up the signal to give different results in our soundstage. But where HEA went overboard is when they made units that squeezed the signal so much that it started creating sonic holes in the soundstage among other problems. In the end of all the squeezing you end up only being able to play fewer and fewer recordings with a believable sound.

You can take these same recordings and put them on a low mass system and tune them in to the point where you can virtually create any size stage you want and as well as much focus as you wish.

Michael Green

www.michaelgreenaudio.net

Bad recordings Vs Non-playable recordings.

Back in the early 90's I traveled around showing reviewers how to tune in recordings. You might be surprised to hear this from me but go back and read about it in the Audiophile rags. Yep, Stereophile, TAS and the others didn't know recordings could be tuned. Or should I say that systems could be put in-tune to a particular recording. I spent 3 years traveling & tuning, showing folks that simple systems could out perform the more expensive over the top built ones. Some of you might remember me coming to your store. When I was allowed, I would do my talk in the ultra high end rooms, but also did a simple setup in usually smaller out of the way rooms with inexpensive systems the store had. I'm not sure the store owners were very happy with me at times, but the response to these setups, one sold tons for the store, and two showed another more practical side to the hobby. I remember back then the industry would try to separate the "audiophile cheapskate" from the HEA recommended components, but the truth of it was almost always the less expensive systems (made tunable) beat the tar out of the big boys. Back then I wasn't setting out to put down the expensive components, I was simply making the best sound. This became a source of conflict between me and the HEA to a degree, but I always knew things would work themselves out in the end. Ultimately audiophiles are going to come home to their first love, their recording collections and their favorite ways to play them.

Did you ever think about this, why do folks go to such pains to cry "Bad Recording" whenever their system can't play it? In the last 15 years this has gotten really out of line, to the point where folks have created their own out saying "my system is revealing" to the point that it can pick out bad recordings. My friends this is an HEA myth from hell and if you are stuck in it you could use an audio priest. Yep, there might be 1% of copies or recordings that have fallen between the cracks. And I'm not saying you might have bought that 1% in your life. What I am saying is, beside factory defects, chances are almost every recording in your collection is just fine. So why all the bad sound? That's a question you should be asking HEA. The answer is a simple one, if a system is not able to play a recording successfully it means that recording has not been "Tuned" to that systems setup.

If we took a field and built 1000 identical rooms and put a different system in each room, and took your "bad" recording and played it in those rooms that recording would sound bad like you've described in some rooms, but probably to your surprise that same recording would sound between Ok to audiophile approved in some of these rooms, maybe many of them. And I guarantee would sound fantastic with the tunable systems. How is this possible? Or the better question is, how has HEA failed to discover and teach you this reality? How can HEA sell you a component that is limited in playing back music? If you think your one sound system is able to judge recordings come on up to the check out counter, your done. HEA has successfully sold you your cats meow. But you know what, most of you would be lying through your teeth. Most of you are still going round in that HEA revolving sales door hunting for the next component. That's ok if your a component collector. But what about if you want to play that recording and your system is not allowing that to happen? Well some of you have bought several copies until you find one that works for you. But lets say the store is closed and your stuck with the bad sounding one? Again most of you are going to say, it's the recording and you would be right, at least half right. One of these things is not working. Either the recording is not working with your system or your system is unable to play that recording. That exact recording played on another system will sound fantastic, happens all the time, all day long.

Michael Green

www.michaelgreenaudio.net

Hi Mike

Thanks for taking the time to post on this thread.

What you said is very important and is why I am here with this thread. The hobby has had enough time and experience now to move from a fixed approach "plug & play" to a variable one. For example, what if you had a 3rd option? You have the Heresy (great speakers) and you have the Sonus Faber (also great speakers). What if you could make the Sonus sound like the Heresy and vice versa? What if HEA was variable instead of fixed? Listeners walk into music shops every day and tune the instrument they are about to play. Once the paradigm shift happens from fixed to tunable, we will be looking back at speaker design (as a example) and wonder about the days when they were built for one sound.

Keep in mind I'm not saying a Gibson is a Fender, but what I am saying is they both need to be tuned to play the same note.

I'll take a peek at Mark's video, thanks.

Michael Green

www.michaelgreenaudio.net