What is your listening bias


Quite frankly, I've stolen this idea from TAS. The question entails:
1. What points are important for you, when listening to reproduced music. ( soundstage, proper rendering of mids, highs, lows, transparency, dynamics )
2. Where are you prepared to compromise and where not.
3. In the building up of your system, how much a role has the mnestic imprint of live music played a role.
4. In how far are you prepared to voice your system and shape its sound to reach your goal.
5. Do you give more weight to the fact, that your system has been built up according to the precepts of scientific reason, or do you rather trust your own ears and aural predelictions?
For me, I've always attemted to recreate the sound of indidividual instruments as closely as at all possible, be it as a solo instument or playing tutti. For me a violin should sound like one, an oboe like an oboe, brass like brass etc and I've been willing to sacrifice a bit of soundstage to that end. I also like voices to sound as natural as possible. If neccessary I'll shape the sound of every recording to meet my tastes and expectations. Dynamics are also very important and the proper rendition of transients, especially in the p to ppp section. So transparency is equally important. So far, I've found the old shady dogs and early mercuries to come closest to what I expect from a good recording.
detlof
As a follow up: I agree with Garfish on vocals and well the whole 300-6khz range. I love bass and highs and you need it all but they always say the human ear is most sensitive to the vocal frequencies due to evolution or something. I agree. But I get stuck on PRaT. I associate that with the music and especially the performance more than the equipment. I had a turntable that I used in college as a combination pizza holder and it had some pace, rhythm & timing problems. Other than that I'm not certain I get it.

Justice Wizzard White: "I can't define PRaT, but I know it when I hear it."

Sincerely, I remain
Clueless: I believe Byron White, in his pre-judicial football days, was nicknamed The Whizzer. And wasn't it Potter Stewart who said he couldn't define pornography, but he knew it when he saw it?
Bomarc: Hey, I was improvising.
I think Justice Earl "Ears" Warren (His friends called him "Ears") also referred to this issue as Cadence, Rhythm And Pace (CRaP) but I can't remember the case for sure...maybe it was Potter Stewart. Anyway, I can't figure it all out.

Sincerely,I remain
Clueless-- you're assessment of PRaT fits for me too, ie I know what it is when I hear it, but don't know if I could define it. It certainly is an emotional component of much of the music I listen too, and when it's "there", it makes me want to get up and dance-- slow or fast. You're right too in that it has to be an inherent part of the music (recording). Occasionally as I've attempted up-grades, I've temporarily "lost it" and of course panicked. It's a characteristic of some music that I value highly, and so have become very sensitive about it. Cheers. Craig