The Absolute Sound vs Pleasing Sound

**** You assume the new instrument is easier to play. That’s a false assumption even just for the nature of the instruments tested. You assume they won’t get better on the new instrument as well, again a false assumption. You assume that playing ability can coax a change in the fundamental sonic characteristics which is not guaranteed and again assumes the old instrument must have hidden capability. All instruments were played blind. No one even knew what they were playing. ****

As I have encouraged you to do previously, please read my comments more carefully. Your comments and knee jerk contradictions demonstrate a very simplistic and frankly, sophomoric grasp of all this. Not a good thing, especially for someone who claims to be in the business of capturing the sounds that we are talking about.

I have performed with what must be literally hundreds of professional string players over the years in various orchestras and other professional ensembles; never mind, other types of instrumentalists. I have spoken at length to many of these on the subject; it is what musicians do, constantly and sometimes to a fault. What I wrote is absolutely true; not in every single case, but often the case. The same principle applies to many other families of instruments. Some professionals do, in fact, prefer the ease of play or other traits of some modern instruments; many do not. Many players seek out the special qualities that some of these old instruments possess and is why they are willing to pay those prices.

What is your experience playing an instrument in a professional capacity and how often have you had the opportunity to discuss this issue with accomplished professional players? Opportunity knocks.

The OP mentions his wonderful experience listening to Nigel Kennedy perform live. Does anyone think that an artist of this caliber cares more about the cache of playing a rare instrument such as his Guarneri more so than playing the instrument that is best for him and his artistic vision; and, is willing to compromise his artistry (and pocket book) by playing an instrument that is not? Anyone who believes that simply doesn’t understand what musicians do. There is a running joke among players about receiving payment or other renumeration for endorsing and “playing” a particular brand of new instrument while playing his/her vintage instrument when performing.

What's saddest of all is not accepting Fritz when he acknowledges how his bias influences him.

If you know it’s a Strad, you will hear it differently," Fritz says. "And you can’t turn off that effect."

 I'm not locked in a mindset I simply took Fritz at his word , maybe I'm mistaken and you were saying Fritz is locked in a mindset not me, if so I apologize.

What is even sadder, IMO, is to be locked in a mindset that says that reactions are the result of bias and to refuse to be open minded about the possibility that it is not bias at all that is at play. 

I wonder why those who denigrate testing for biases seem to think the outcome of such tests will support the position of "measurementists"? Why is it everytime a simple psychological test on bias is reported in an article or paper or book some feel the need to tie themselves in knots trying to explain it away. We all have biases and they affect a lot of things we do or feel that have nothing to do with audio. Seems weird to me.