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It's All in Your Head

I commented in an earlier thread that the emphasis on components, cables and room treatments obscures the fact that the music all happens in your head.

This is from John Atkinson at RMAF 2012 reported on Stereophile:

"Stereophile editor John Atkinson used everything from a drumstick to a cowbell, both sounded “live” and played back on the seminar room’s stereo system, to convey the message: “Nothing is real. How the recording art affects what you think you hear!” As John proceeded to point out that the brain combines information from separate left and right loudspeakers into a single stereo image..."

"I showed that it is a fallacy to assume that “the absolute sound of live music in a real acoustic space” resides in the bits, pits, or grooves, even when such a live event existed. Making recordings is an art, not a science and there may only be a coincidental resemblance between what is presented to the listener and the sound of musicians playing live, even when all concerned with making the recording were trying to be as honest as possible. Even the fundamental decision of what microphone to use moves the recorded sound a long way from reality..."

What we aim for when we put an audio system together is a pleasing facsimile of the original musical performance that happened in a studio or at a live venue. But, ultimately, the music's all in your head. It sounds like it's in the room because that's the way our brain makes it seem. Music is essentially a spiritual experience mediated by the brain.
Systems that are not in the "best" category may reproduce music in a way that moves us but the "best" systems have the ability to involve us on even deeper emotional and spiritual levels.

Getting really close to the essence of the performance means we need "special" gear. That's what "gear chasing" is all about -- trying to get closer to the essence of the performance on deeper and more satisfying levels. "Gear chasing" that involves trying to reproduce the actual performance is an illusory pursuit. Many audiophiles have observed that the "best" systems are not necessarily the most expensive ones. This has also been my experience. But it will still take quite a bit of cash to put together a system that enters the realm of the "best".

All of the above is IMO, of course.
sabai

Showing 3 responses by minorl

minorl
1,021 posts
 
Most of us were not in the recording session/room and therefore, have no idea what the original recording session sounded like. Also, others have posted correctly that recording is indeed an art and science and the best recording engineers earn their big bucks because they really do know what they are doing. you have to not only have the best microphones, but you also have to know how to correctly place them. You have to have the best cables, mixing equipment (I know, I know), amplification equipment, etc. This goes way beyond the ability of the average recording engineer, if they really want to get it right. Also, then you need the artist and recording personnel to sit in the room and listen to the playback to see/hear if they got it right. and guess what? most times, they are listening to the recording through equipment that isn't close to what you have a home and continuing to mix based on what they hear using that equipment. Unless you were there during the recording session and also hear the recording afterwards, we have no idea what it really sounded like in the first place. So we approximate based on what our "experience" tells us it should have sounded like. I would be interested to hear the accounts of people that actually were at a concert or recording session and then heard the actual recording afterwards to see if they got it right or even close.

enjoy
minorl
1,021 posts
 
Onhwy61: I think the only thing you said in your latest post that I may disagree with is that just because a person has a fairly nice system does not necessary mean that their needs have been met. I started out with a fairly nice system a long time ago, but it wasn't quite "there" yet for me. had nothing to do with being in the amp of the month club where I absolutely had to have the latest and greatest. It had to do with the sound wan't quite there, my budget at the time, kids in school, mortgage, etc. Also, one thinks that when you purchase something and take it home that it will be right. most times, unless you take it home and demo it first, you really have no idea if it is right. so, you are correct to an extent, consumerism, amp of the month club, etc. drives many people. But, some of us just want to sit and listen and enjoy without listener's fatique, the empty feeling that something is just not right with the sound.

enjoy
minorl
1,021 posts
 
Onhwy61; I think what you are describing are members of the amp of the month club. Whereby when something newer and "better" comes out they absolutely must have it. And you know what? If that person can afford it and is enjoying life, more power to him/her. However, continuing refinement is okay to the extent that some really love music and accurate music reproduction and realize that they aren't "there" yet. Again, more power to them. Some people are that way with cars. Others with watches, and others have their different things. It is ever moving for them. For me, while my hearing is okay, I love good music and the best reproduction of such music (that I can afford). I know what I would do/buy if I won the lottery. I know it would be an improvement. Not a jaw dropping improvement, but an improvement non-the-less. and with the time I have left (hopefully a long time), it would be an enjoyment, not an addiction.

enjoy
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