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High Performance Audio - The End?

Steve Guttenberg recently posted on his audiophiliac channel what might be an iconoclastic video.

Steve attempts to crystallise the somewhat nebulous feeling that climbing the ladder to the high-end might be a counter productive endeavour. 

This will be seen in many high- end quarters as heretical talk, possibly even blasphemous.
Steve might even risk bring excommunicated. However, there can be no denying that the vast quantity of popular music that we listen to is not particularly well recorded.

Steve's point, and it's one I've seen mentioned many times previously at shows and demos, is that better more revealing systems will often only serve to make most recordings sound worse. 

There is no doubt that this does happen, but the exact point will depend upon the listeners preference. Let's say for example that it might happen a lot earlier for fans of punk, rap, techno and pop.

Does this call into question almost everything we are trying to ultimately attain?

Could this be audio's equivalent of Martin Luther's 1517 posting of The Ninety-Five theses at Wittenberg?

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Can your Audio System be too Transparent?

Steve Guttenberg 19.08.20

https://youtu.be/6-V5Z6vHEbA

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Showing 1 response by desktopguy

desktopguy
399 posts
 
In the world of classical oboe, for a long time players could choose between the "Swiss/German" sound (precise, neutral tone; very little vibrato; no "romanticizing of note production) or the "French" sound (highly expressive, large vibrato, overtly romantic note production). I quickly learned that I preferred the French sound because the players expressed such passion in their playing, and IMO the instrument simply sounds better played that way.

One of the first sonic decision points I faced in my early days of audio gear appreciation was rather similar: many in the hobby are proponents of "neutrality," "accuracy," and "detail," while others are more interested in "musical," even "romantic" sounding gear. I was going to much live music all through those years (jazz & classical, primarily)--and I realized I prefer "musical" gear simply because music I knew well (once or twice  recorded in front of me) retained its core sound & "feel" better on the "musical" gear than the other kind.

These divergent sonic concepts have pursued me into headphone audio, where treble-cannon headphones are often the most prized (they give me a headache).

My point is simple: if music played IRL in real space is your ultimate reference, it’s pretty easy to figure out what sounds good to you.
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