Sean, I have been a musician in a hobby sense for 25 years although I have played in groups, jazz band, etc. I play guitar. I have been trained to be an Electrical Engineer, but I currently design and build computer networks. Part of my training in the EE realm included sound reinforcement since I really wanted to be a full-time musician or active in the industry. I have done my own recordings on 4 track devices for some time (15 years). I became an audiophile about 20 years ago. I am currently in my early 40s.
I have not doubted a single word you said. I attempted to clarify a staement about CAST and threw in a Wadia comment supporting your statement. There are many realities in music. The guy in the studio has one set of circumstances. The sound reinforcement guy has another set. The music aficionado has another goal.
I do agree the upfront (prerecording) process is very different from what one might assume. Sound reinforcement can assume numerous “faces” from quality to quantity. The audiophile’s goal (or mine anyway) is to accurately reproduce what ends up of the media no matter what happened during the process. The ultimate reference is unamplified music or natural sounds. Personally, I have never thought a mic (Shure SM-57 or whatever) sitting 12” in front of a single Greenback sounded like the real thing on recordings. Especially if the sound pressure was such that it deformed the mic’s membrane.
Acoustics are everything. Change the room, and the system’s reproduction characteristics will change period. This is measurable. Move the system in the room and the acoustics change. I do have my speaker’s anechoic measurements (Dunlavy); unfortunately I don’t listen to music in such an environment, so for my acoustic environment they are essentially invalid. I do believe DSP correction devices can help as long as the correction is in the digital domain.
Again, if you don’t hear it, don’t buy it, but most of all enjoy it regardless of the pieces.
I have not doubted a single word you said. I attempted to clarify a staement about CAST and threw in a Wadia comment supporting your statement. There are many realities in music. The guy in the studio has one set of circumstances. The sound reinforcement guy has another set. The music aficionado has another goal.
I do agree the upfront (prerecording) process is very different from what one might assume. Sound reinforcement can assume numerous “faces” from quality to quantity. The audiophile’s goal (or mine anyway) is to accurately reproduce what ends up of the media no matter what happened during the process. The ultimate reference is unamplified music or natural sounds. Personally, I have never thought a mic (Shure SM-57 or whatever) sitting 12” in front of a single Greenback sounded like the real thing on recordings. Especially if the sound pressure was such that it deformed the mic’s membrane.
Acoustics are everything. Change the room, and the system’s reproduction characteristics will change period. This is measurable. Move the system in the room and the acoustics change. I do have my speaker’s anechoic measurements (Dunlavy); unfortunately I don’t listen to music in such an environment, so for my acoustic environment they are essentially invalid. I do believe DSP correction devices can help as long as the correction is in the digital domain.
Again, if you don’t hear it, don’t buy it, but most of all enjoy it regardless of the pieces.