Klipsch Cornwall IV

Assuming something is only as good as the weakest link in the chain, if the pro gear used to make recordings is in fact inherently inferior, then it follows that we are all screwed. Any attempt to make things better during playback is pure folly. At best, you can’t make it any better during playback than it is when recorded. So we all might as well just buy all pro gear and put lipstick on it to make it look nice at home.

So a lot of what audiophiles fret about is in fact pure nonsense. It’s all in the mind and each will dress up the pig as they see fit.

Cheers!

PS I would love to have a pair of Cornwalls in case anyone wants to just throw in the towel and give their’s away. 😉

@jbhiller Yes, live venues use Crown because they're powerful and bombproof. They will work amidst cigarette smoke and spilled beer and whatnot.

How far do CW4 need to be from front wall?

I happen to agree with the guy who designed these CW4's as to what is important. He does not use that fancy stuff to develop gear for a major speaker maker known as Klipsch.  We will have to agree to disagree on the validity of dropping gobs of cash on amps and cords.

 

@jbhiller

I don’t think music is authored on inexpensive amps and gear. In fact, the studios I’ve been to all had hundreds of thousands of dollars of gear. Not a cheap amp to be found.
Certainly live venues might be using Crown and inexpensive amps for playback.

you are absolutely correct in my experience

people conflate equipment used in recording and mastering (absolutely excellent gear) with gear used in conventional playback (heavy duty industrial stuff like crown amps giant p-a horns etc etc) in mass audience venues

an example is in 2006 i bought an audio research v70 tube amp, with high grade foil capacitors and rca/mullard old stock tubes handwound output transformers etc etc - this was the amp that for years powered the recording/playback monitors in david chesky’s nyc (formerly rca radio city) recording studio from when he launched the grammy winning boutique label... all those lovely recordings on lp and cd we bought by sara k, paquito d-rivera, ana caram, and remasterings of phil woods clark terry badi assad etc etc... this amp was used to for mixing and final voicing!!!... it is lovely amp, utterly pure and grainless, full of air and timbral accuracy - if anything it is too accurate, midrange sounds maybe just a touch lean for my tastes - but i still have that amp as a keepsake