@donavabdear
It’s refreshing to see the two-way learning in this thread. I had written you off as coming here to make a point, rather than share a point of view and accept that it might be challenged and your initial perspective may be improved. I was wrong about that.
Many of us who have developed strong opinions about hifi cabling based on our unique empirical experiences and some understanding of both theory and uncertainty associated with connecting a bunch of boxes with various electronics inside with wires forming a complex “system” driven by variously clean power from the wall and played in infinitely variable acoustic room environments. Every time there is a thread on here or another forum containing the word ‘cable’ some collection of theorists join the thread and talk about graphs and what they know about resistance, and many of us have developed sensitive trolling antenna. To folks that have learned to keep an open mind and trust theirs and others’ ears, it resembles a chorus of the flat earth society. It’s tiresome and interferes with productive sharing. So forgive our collective fatigue.
I do have to admit I am taken aback by your name dropping, even if it is sincere and in support of a point. I am much more convinced and interested in your description of the physical and acoustic challenges of recording sound in complex and noisy environments with the sources moving around, and then trying to mix that in ways that make sense and support the moving images in a film. That’s cool. I regularly work with rich and famous people, and I find that name dropping NEVER succeeds as a validator of my thoughts or points, and it is almost always a turn off in a conversation. Just a suggestion of something to consider in this and other discussions.
Back on topic, you said;
”I have no extreme reverence for knowing what the original record was I'm just saying if you didn't do the original recording then haw can you or anyone else talk about the proper image or the tightness of the bass, you can make the tightest bass ever just add gating, ducking, and lots of compression. Tighter and wider on every recording isn't always correct”
The improvement by good cables with respect to reproducing soundstage width and depth and timing aren’t some technicolor hallucination that appears on all recordings. Mono doesn’t become stereo, flat or not particularly well-miked stereo recordings don’t grow width or depth that wasn’t captured or mixed into the final cut. Good gear and wires just tell you more of whats going on, good and bad, and sometimes that can make you want to listen to certain recordings on your Bluetooth speaker in your kitchen rather than your two-channel big rig.
Enjoy the journey,
kn
