We seem to have two entirely different conversations going on simultaneously. A non technical "audiophile" conversation and a technical question. While the non technical answer has been given, no one has engaged in the technical question.
Does 'Accuracy' Matter or exist ?
In the realms of audiophilia the word 'accuracy' is much-used. The word is problematical for me.
In optics there was once coined a descriptor known as the ' wobbly stack', signifying a number of inter-dependent variables, and I believe the term has meaning to us audiophiles.
The first wobble is the recording, obviously. How to record (there are many microphones to choose from...), what kind of room to record in (an anechoic recording studio, live environment etc), where to place the chosen microphones, how to equalize the sound,
and, without doubt, the mindsets of all involved. This is a shaky beginning. And the ears and preferences of the engineers/artists involved, and of course the equipment used to monitor the sound: these too exert a powerful front-end influence. Next comes the
mixing (possibly using a different set of speakers to monitor), again (and of course) using personal preferences to make the final adjustments. My thesis would be that many of these 'adjustments' (EQ, reverb etc) again exert a powerful influence.
Maybe not the best start for 'accuracy', but certainly all under the heading of The Creative Process....
And then the playback equipment we all have and love.....turntables, arms, cartridges, digital devices, cables, and last but never least, speakers. Most, if not all, of these pieces of equipment have a specific sonic signature, regardless of the manufacturers' claims for the Absolute Sound. Each and every choice we make is dictated by what? Four things (excluding price): our own audio preferences, our already-existing equipment, most-importantly, our favorite recordings (wobble, wobble), and perhaps aesthetics.
Things are getting pretty arbitrary by this point. The stack of variables is teetering.
And let us not forget about the room we listen in, and the signature this imposes on everything (for as long as we keep the room...)
Is there any doubt why there's so much choice in playback equipment? To read reports and opinions on equipment can leave one in a state of stupefaction; so much that is available promises 'accuracy' - and yet sounds unique?
Out there is a veritable minefield of differing recordings. I have long since come to the conclusion
that some recordings favor specific playback equipment - at least it seems so to me. The best we can do is soldier on, dealing
with this wobby stack of variables, occasionally changing a bit here and there as our tastes change (and, as our Significant Others know, how we suffer.....).
Regardless, I wouldn't change a thing - apart from avoiding the 'accuracy' word. I'm not sure if it means very much to me any more.
I've enjoyed every one of the (many, many) systems I've ever had: for each one there have been some recordings that have stood out as being
simply Very Special, and these have lodged deep in the old memory banks.
But I wonder how many of them have been Accurate........
In optics there was once coined a descriptor known as the ' wobbly stack', signifying a number of inter-dependent variables, and I believe the term has meaning to us audiophiles.
The first wobble is the recording, obviously. How to record (there are many microphones to choose from...), what kind of room to record in (an anechoic recording studio, live environment etc), where to place the chosen microphones, how to equalize the sound,
and, without doubt, the mindsets of all involved. This is a shaky beginning. And the ears and preferences of the engineers/artists involved, and of course the equipment used to monitor the sound: these too exert a powerful front-end influence. Next comes the
mixing (possibly using a different set of speakers to monitor), again (and of course) using personal preferences to make the final adjustments. My thesis would be that many of these 'adjustments' (EQ, reverb etc) again exert a powerful influence.
Maybe not the best start for 'accuracy', but certainly all under the heading of The Creative Process....
And then the playback equipment we all have and love.....turntables, arms, cartridges, digital devices, cables, and last but never least, speakers. Most, if not all, of these pieces of equipment have a specific sonic signature, regardless of the manufacturers' claims for the Absolute Sound. Each and every choice we make is dictated by what? Four things (excluding price): our own audio preferences, our already-existing equipment, most-importantly, our favorite recordings (wobble, wobble), and perhaps aesthetics.
Things are getting pretty arbitrary by this point. The stack of variables is teetering.
And let us not forget about the room we listen in, and the signature this imposes on everything (for as long as we keep the room...)
Is there any doubt why there's so much choice in playback equipment? To read reports and opinions on equipment can leave one in a state of stupefaction; so much that is available promises 'accuracy' - and yet sounds unique?
Out there is a veritable minefield of differing recordings. I have long since come to the conclusion
that some recordings favor specific playback equipment - at least it seems so to me. The best we can do is soldier on, dealing
with this wobby stack of variables, occasionally changing a bit here and there as our tastes change (and, as our Significant Others know, how we suffer.....).
Regardless, I wouldn't change a thing - apart from avoiding the 'accuracy' word. I'm not sure if it means very much to me any more.
I've enjoyed every one of the (many, many) systems I've ever had: for each one there have been some recordings that have stood out as being
simply Very Special, and these have lodged deep in the old memory banks.
But I wonder how many of them have been Accurate........
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