High definition vs. tonal balance


After many, many years as an audiophile, I’ve come to a conclusion that a goal of tonal balance is far more rewarding and less crazy producing than the quest for greater and greater definition.
Of course, both together is Nirvana.  But so many audiophiles go awry in the holy quest for lucidity.
Years ago I had a system that was far less defined than the system I have today. But, tonally, it was in perfect balance.  A violin sounded like a violin, an oboe like an oboe, a trumpet like a trumpet, you get the idea.  But, it was lacking in those elusive fine points of definition that I thought I needed.
Then began a many year’s quest to find the right component, wire, fuse, what have you to get the sharpest picture I could attain.  Trouble is, I would improve one aspect at the expense of another.  More piling on of fixes and I couldn’t get to the place of happiness I had before I started.
Finally, probably by luck and after thousands of dollars I’ve reached the point of content I was at several years ago.
Maybe my system is better defined now, but it also has achieved that synergy.
My point is, was it worth the torture?



rvpiano

Showing 1 response by mike_in_nc

I'm in the same camp as the OP, @oregonpapa , and @erik_squires on this one. I have heard systems with impressive soundstaging and dynamics and extended FR in both directions, and yet . . . when I listened to an orchestral recording, I couldn't tell what instrument was playing, because the timbres were all wrong. In the end, I found that a discouraging experience.
To those who say, it's all in the recording:  I'm the first to agree that recordings vary a lot.  That doesn't negate that, to my ears, differences in audio systems' timbre reproduction are noticeable across a cross-section of recordings.