The spending of big bucks is fine for those that can afford it. At one time, I sure did. But the unfortunate reality is, people are listening to equipment that can never achieve " live, unamplified " sound, of the musicians playing. And if you think your system does, you have little experience with live, unamplified music. However, giving more credit to many listeners, whatever you spend, it will be a compromise in so many ways. THE RECORDINGS are compromised. The most popular thread here had, for at least a week, a discussion on ( 1 ) what is the proper tone of the guitar, ( 2 ) where is the musician located on the stage and ( 3 ) how much ambience is heard within the recorded space. I am talking about Keith Don’t Go, by Nils Lofgren, from Acoustic Live. A popular demo track at shows when it was released, and long after. Was the guitar he used the popular and regularly played Takamine Legacy 508 ? Will your system tell you ? Would you actually know if it was, just by listening ? I don’t pay attention as much to that stuff on recordings, because of the mic’s, cables, recorders, eq and compression ( just to name a few ) and ALL of the associated equipment used, to make it to the production. However, there are some attributes of the music that I care about more, and two are dynamics and transients, which consist of quiet to loud, forceful, rhythmic, control, speed, articulation ( and yes, PRaT ) thunderous, delicate, believable attack and decay, etc. These suffer from the " recording " as well. But these are very important sound characteristics I yearn for, from all recordings ( I come from a " music " background ). Given what I have $ wise into my system, the systems delivers it. Live unamplified music, from a violin, to a huge drum set, exhibits these....as a given. So many Hi End systems I have heard, fall short of these characteristics. Yes, they are spatial. Yes they are holographic. Yes, they can place you in the audience. Oh, my system does that too !. But the meat on the bones, is not just added punch, or more bass. One of my many " challenge recordings " for systems, is Romantic Warrior, by RTF. Not a Sheffield Lab, RR, or similar,etc. ) 4 fabulous musicians, playing individually......and together.....The key word is " PLAYING ". This is what I listen to. I hope I have not offended anyone here, as it was not my intent. For many of you, you have your own sound characteristics you are looking for. Listening to recorded music is always a compromise, no matter the system. I know my system has limitations. The recording processes are the limiting factor. Sorry for my rant, but I found a new Sativa, and my mind is exploding with thoughts and ideas.....lol.....My best to everyone......Always, MrD.
When someone tells you it's a $40,000 amp, does it sound better?
I've always been a little bit suspicious when gear costs more than $25,000 . At $25,000 all the components should be the finest, and allow room for designer Builder and the dealer to make some money.
I mean that seems fair, these boxes are not volume sellers no one's making a ton of money selling the stuff.
But if I'm listening to a $40,000 amplifier I imagine me Liking it a whole lot more just because it costs $40,000. How many people have actually experienced listening to a $40,000 amplifier. It doesn't happen that often and usually when you do there's nothing else around to compare it to.
I'm just saying expensive gear is absolutely ridiculous. It's more of a head game I'm afraid. Some how if you have the money to spend, and a lot of people do, these individuals feel a lot better spending more money for something. Now you own it, and while listening to it you will always be saying to yourself that thing cost $40,000 and somehow you'll enjoy it more.
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- 235 posts total
- 235 posts total