So how can a great system solve less than great recordings


It seems no matter how good a system is, the quality of recording quality takes priority.

Formsome reason nobody talks about challenges of making older recordings sound better.  Classics from 70s and 80s are amazing tunes, but even remastered editions still cant make sound qualiity shortcomings all better.  Profoundly sad.  Some older stuff sounds quite good but lots of stuff is disturbing.


jumia
Just celebrated my 50th year of audiophilia.
With some luck, dedication and, gratefully, this Forum I have evolved my analog only system to a place where there is no such thing as an unlistenable record. All are enjoyable... some more than others.
The most significant evolution came with the addition of my AGD Audions. They were brought to my attention by several Forum member’s rave comments. Then, checking the reviewers, they constantly use the rare phrase “best regardless of price”. I was inspired to order a pair. Unbelievable! Not only the “right on” tone and SQ, I hear something never heard. I hear the musician’s phrasing. Music is made up of phrases tied together. To clearly hear the beginning, end and nuance-the humanness! I always liked Ella but only now do I fully understand her greatness hearing her phrasing. And this critical essence of music is evident in every record. For sure, my speakers, front end, cables and power all contribute. But the real change came with AGD.
A great system should naturally make everything sound a little better or a lot better...sort of the point.
How does the great system know which recordings to make sound a lot better, and which to sound only a little better? And how does it know what is better?
"Some of my best recordings are from the 50’s, 60’s, and 70’s. They knew how to record and master back then, today it is mostly a lost art and most remasters suck in my opinion."

How right you are Audioguy85!!

Me too, give me an original Decca or EMI pressing every time.

Today's problem is digital offers producers and engineers the opportunity to tinker.  They just can't resist it.  So in most cases everything that was good about the original recording is corrupted 'we need a bit of heightened this or toned down that'.

This applies equally to today's new recordings in which the digital desk is ever present under the hand of the engineer who loves to fiddle, thinking that such tech wisdom as he may have knows better than the musicians who created the performance.

JUST LEAVE IT ALONE.

A live performance (at least of acoustic instruments) doesn't contain any engineer corruption.  So, if you want to reproduce it accurately, dump the engineer, or at least tie his hands.