Quality system, make poor recordings sound better?

I've gotten my system 'tuned' to be able to enjoy a wide variety of vinyl (my
only source). Whether that means the system is colored or not, I hear a
huge difference among different recordings and different pressings. I use
horns as well (with SET amps and tubes all the way back through the line
stage and phono stage). My system is hardly the 'best' and I hear its
inherent limitations, though those don't bother me- the differences in
recordings and pressings seem to be far more pronounced when I listen to
a range of material.
The notion of 'accuracy' has always baffled me- most recordings are
gimmicked to some degree, and fidelity to the actual event (if there even
was one, rather than something cobbled together on multiple tracks from
different sessions) is a virtual impossiblity as a benchmark.

Maybe Ralph has the ability to make such comparisons if he does
recordings of actual events, then cuts a record from them.

I'm less interested in how the system sounds over some audiophile
approved record and more interested in how it sounds across a wide range
of material.

For me, if the midrange isn't pure, clear and grainless, the rest doesn't
matter. I can live with the sins of omission.
In the end, I think each of us has our sense of what sounds 'right,' whether
it is a function of taste, preference or experience. Which may explain the
wide variety of different sounding systems that different people regard as
impressive or desirable. Not advocating anything here, just another
blithering insight into what may be obvious.

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Some of my recordings became unlistenable. The well-recorded albums became so good that it was mind-blowing...and addictive.
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Atmasphere, you are right as rain on your recent post!

Absolutely Whart, getting a very clear midrange that also is grain free, well, the only way is low distortion. And I agree, sins of omission, like not extending real high at the top end, easy to live with if the mids are right. So many "high end" speakers have harsh upper mids and a very clumsy transition to the tweeter, yet folks not their heads in unison because of the wonderful cabinets, great finishes, high prices, and big claims by the manufacturers.

"Absolutely Whart, getting a very clear midrange that also is grain free, well, the only way is low distortion. "

"Poor" recordings are often have a lot more energy in the midrange compared to "higher quality" more extended ones. So getting a handle on noise and distortion there is paramount. All the best most extended and dynamic recordings should benefit as well. Otherwise, something is not right.

Some "Poor" recordings with limited frequency extension might properly be viewed as good litmus tests, ie most music occurs in the midrange so good performance there goes a long way. Only once that is right does anyone have any business going for top performance with the rest.

I wonder often if many "lesser" recordings are perceived that way mainly because they are not perceived as as flashy as the best and most extended recordings. After all if the recording has a lot of bling to start with, its not so hard to deliver at least some of that. When the recording is fundamentally sound within limits,often in terms of high and/or low frequency content, or perhaps also even in terms of mono versus stereo, there is less "bling" so revealing this kind of diamond in the rough is not so easy. ITs all about low noise and distortion, and the midrange is where things will make or break initially usually well before all the rest of teh harder stuff. If it ain't good there, chances are it is not so good with the rest either.