Do we
1: Optimize to bring the very best out of the very best recordings, or
2: Optimize to bring the best out of the broadest range of recordings.
i quite literally do both all the time. Easily.
Does Every Track Sound Great on Your System?
How do you know if it is the recording or your system?
By way of example with a focus on bass, for some songs I like the amount of bass, then another song I feel like it needs more bass to hit harder, and then another song I feel like there is too much bass and it is boomy. Does that ever happen to you? I feel like I am getting the treble sorted out, but going back and forth on the bass.
Can anyone listen to the first 20 second of the song Temptation by Diana Krall from the Girl In The Other Room album and let me know if there is a bass component that is a bit much? The vocals sound good so no issue there.
Thanks.
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- 110 posts total
A few nights ago I put on the Sony SBM (red book) remaster of Born To Run and it sounded like nails on a chalkboard. Then I put on the MFSL (red book) Goodbye Yellow Brick Road and it was somewhat better, but not super crazy better. Then I put on Sprinsteen’s Ghost Of Tom Joad and it was a whole lot better and then I put on MFSL (SACD) Cowboy Junkies/Whites Off Earth Now and all brightness and compression disappeared and the sound stage blossomed laterally, vertically and to the fore and aft. All tracks are not re-created equally on my system. |
@toddalin , are you referring to the Japanese single layer SACD? I have that also, but I've only played it once. For some reason I haven't been too impressed with the single layer imports, but it could be that I wasn't listening to it on a "good night." I am not in the mood for Goodbye Yellow Brick Road on a regular basis, but next time I'll try the SACD and see if my feelings have changed about it. I really enjoy Funeral For A Friend/Love Lies Bleeding. |
- 110 posts total