The “They are here” vs “You are there” sound topic

I pay zero attention to distinctions such as "you are there" versus "they are here". It is a nebulous concept and has no power, imo, to actually advance an audio system. I consider it to be as fruitless as the phenomenon of "burn in", which I pay no attention to any longer. (See my article "Audiophile Law: Thou Shalt Not Overemphasize Burn In" at Dagogo.com). 

It is evident to me that the phenomenon of there versus here is a function of the recording, and the degree to which it is felt is a result of the quality of the system. It is not dependent upon any type of speaker, as I can obtain that distinction in listening with whatever type of speaker I use - panel, horn hybrid, line source, dynamic, etc.  :)  

As usual, YMMV, and I'm not interested in debating my perspective. 

douglas_schroeder

As usual, YMMV, and I’m not interested in debating my perspective.

>>>>>Wise move. 🤗

- which type of speakers fall in one or the other category in your opinion?
- what type of sources, amplifiers or even cables fall in one or the other category in your opinion?
 Unless it’s mostly about the room in your opinions.

Its all there. Read it again. There's a word or two that matter you seem not to have caught, and instead have latched onto a couple that aren't mentioned because they don't. One word in particular matters a whole hell of a lot, and you went right past it.

douglas_schroeder

I pay zero attention to distinctions such as "you are there" versus "they are here". It is a nebulous concept ...

Agreed. It's all an illusion and this discussion is really about semantics.

The following thread from 2010 may be of interest, in which the same question was discussed at length:

https://forum.audiogon.com/discussions/quot-they-are-here-quot-vs-quot-you-are-there-quot

I provided several detailed responses in that thread, but the following excerpt perhaps captures the bottom line IMO:

Almarg 9-5-2010
As someone who listens primarily to classical music, my goal is to duplicate as closely as possible the experience of hearing a live performance from a good seat in a good hall (less extraneous sounds from the audience or other sources, of course). Therefore I am in the "you are there" camp....

... I doubt that it is typically possible for the acoustics of the listening room to resemble those of the recording space in any meaningful way (assuming the recording space is a hall), because the dimensions (and hence the delay times between direct and reflected sound) are so vastly different.... The overall combination of room acoustics and equipment should be as neutral as possible, to make the listening experience as "you are there" as possible.

(Note that my use of the word "neutral" in this context connotes accuracy, not blandness as the term is sometimes interpreted).

Thus, when it comes to this issue I second the comments by Mijostyn, Douglas_Schroeder, and others emphasizing the overriding importance of the recording, and how it was mic’d and engineered.

Regards,
-- Al