This is the part I like ...
"2. The recording and the information embedded in the medium - digital or analog. This is the limit of the musical information that can possibly make its way through our gear to our speakers to our ears. This contains all the musical information that is possible - including the ever popular audiophile attributes of soundstaging, dynamics, warmth, bandwidth and bloom. Any musical information you hear that is not inherently in the recording as embedded in media is a distortion and no part of the source as defined here. Pleasant though these distortion might or might not be, they are pixie dust that has been spread over the music and no part of the original performance mediated through the recording process - whatever they are, they are not part of the musical source. The LSA only touches this source to the extent that the 3rd-sense of source does not interfere"
This sums it up nicely thanks Pubul57. After that, as stated, its personal choice as to what one does with this information - Colour it, reproduce it as "accurately" as possible or any variation in between.
If accurate reproduction is the end goal and the LSA is in the chain, then everything else has to be (a) Up to that standard, or better and (b) Optomised to work together in terms of impedance and gain.
"2. The recording and the information embedded in the medium - digital or analog. This is the limit of the musical information that can possibly make its way through our gear to our speakers to our ears. This contains all the musical information that is possible - including the ever popular audiophile attributes of soundstaging, dynamics, warmth, bandwidth and bloom. Any musical information you hear that is not inherently in the recording as embedded in media is a distortion and no part of the source as defined here. Pleasant though these distortion might or might not be, they are pixie dust that has been spread over the music and no part of the original performance mediated through the recording process - whatever they are, they are not part of the musical source. The LSA only touches this source to the extent that the 3rd-sense of source does not interfere"
This sums it up nicely thanks Pubul57. After that, as stated, its personal choice as to what one does with this information - Colour it, reproduce it as "accurately" as possible or any variation in between.
If accurate reproduction is the end goal and the LSA is in the chain, then everything else has to be (a) Up to that standard, or better and (b) Optomised to work together in terms of impedance and gain.