Jay's "Ugly Truth" video

The obsessional side has got nothing to do with cost, or ones aspiration to own much more costlier Audio Devices, the Commercial Sector Marketing Strategy has a great influence and is quite capable of a generating a Undertow of an individuals emotions.

Each individual has a threshold as a cap on their spending, each individual is met with a line in their spending they can’t really step over.

When the idea of owning something threatens ones security, especially impacting substantially on other areas of necessary funding to take part in general daily living, there is quite obviously something amiss. Again each individual will have to be honest with themselves on the harm a obsessional and uncontrolled spending regime is having on their security, their families security and the mental health of all being impacted on.

Obviously there are fewer individuals who have the disposable income or savings to consider being serious customers for mega buck purchases, which is the type of clientele Jay entertains.

What really matters is that the idea of owning Audio is not able to be an influence where it becomes an all consuming force on ones mindset and the indulgence in having Audio at hand is not responsible for causing serious financial impact in other areas of ones life.

I to date as a result of a overhaul to my way of thinking about Audio Equipment, have as an end product been able to remain loyal to most purchases and certainly have not felt they are failing in any way.

My Audio Equipment and Collection of Music have cost approx’ £70 - 80K over 40 Years. Again Approx’ £2K a year on average, on a Hobby that has been very enjoyable and rewarding.

I found my own way out of being obsessional about Audio Equipment. More than 15 years past, I enforced myself to cut my ties with using audio equipment personally.

During the Hiatus, I took on a different approach to Audio and become more social around the hobby.

Having developed a new outlook on Audio, which has become based on being a participant in social get togethers, I took the decision and returned to using the home audio system.

It was not long before I become convinced my earlier attitudes that had developed were quite shallow. All the energy being wasted on fantastical BS about equipment, was no longer a desirable attraction.

The change made was the best experience ever.

I may have seen the content within a commercial magazine about 5 times in the past 15+ years.

The resulting change off mindset, really did prove to be the Corner stone that enabled the Joys of experiencing Replaying Music Recordings with the Tools required to achieve this to be be totally fulfilling as a form of entertainment.

It is Interesting how the idea of exchanging the Tools to replay recordings become of very little importance over a short period of time.

Having had nearly 20 Years of a different mindset, I only see the use of Audio Equipment as a means to create a social gathering and share in the Joys of listening to recordings as group activity.

Each has their own experiences, desires to have a different experience and ultimately a story to tell.

 

In my earlier post I stated, "It is Interesting how the idea of exchanging the Tools to replay recordings become of very little importance over a short period of time."

@mahgister  has stated "Then it is not purchasing an upgrade that will teach you how to distinguish and relate this three different conceptual perspectives , it will be the task to optimize and study the mechanical, electrical and acoustical embeddings of any gear you already own in their rightful optimal synergetical working dimensions..."

As for the words from @mahgister I sense I have them understood and endorse them.

It is no secret on the 'Gon', where I make it known I have worked extensively on interfaces in my Audio System and Listening Environment.

The experiences attained and impressions to be made are not ones that are able to to be acquired over night. It is safer to say there is the Long-Haul element to such an endeavour.

Firstly,  Audio Equipment does not levitate, it requires to be propped up on something to support it.

The methods used for propping up/support has lead me to learn plenty about Supporting Audio Devices from Source to Speakers. The lessons learned are quite substantial and others who I spend time with in relation to Audio interests, when introduced to, or loaned a method I have adopted to use, have followed up with creating their own versions. From my assessment it is without question that when this area of Audio is attended to, devices in use find a new level of attraction for how they perform. (This as a practice does not have to incur an outlay of too much monies)

 Secondly, Audio Devices are not able to Beam a Electronic Signal it is to be transferred from device to device via Wire. There are methods to supply power to a device that are not direct from the Grid, I have mainly worked with Power Cables. 

This for me has been an evolving experience, where 15 Years ago I was influenced by a Brands offerings when it came to Interconnect Cables. Over the approx' past 10 Years, I moved to being more interested in how a Type of material used for a  Signal Wire and the Wire Structure, i.e, Solid, Stranded, would function at an interface.

I have worked with a Source, i.e, Cartridge Tag Wires, Tonearm Internal Wand Wires, Internal Wiring in Audio Devices, Wire Types used to Transfer a Electronic Signal, Connectors on a Chassis, Connectors on a Cable. 

The gauge of Solid Wire or Composition of a Stranded Wire, become the later in the learning process focus of interest. The overall Structure of the Cable was not too important in the earliest investigations, and to date, lessons learned have not revealed too much to suggest the overall structure of a Cable is of great importance in my listening environment.

My own experiences to date have shown Wire Type, Wire Structure - Solid, Stranded and the Wire Gauge and the connectors used on both Cable and Chassis, are the factors that can make a Interface that is produced a Standout (for the better) or to have a Mediocre to Detrimental Impact on the Sonic being produced. (This as a practice will take time, depending on the methods adopted, it can incur cost for third party support. There does not have to be too much of a concern for an outlay when not buying into Brands and selecting a Wire Type Only. Sometimes a used market search can discover a Cable with all the Boxes Ticked for very reasonable monies and will speedily resell if not wanted to be kept).

Thirdly, there is the Space/Environment that the end product of the produced Electronic Signal transferred form Source to Speaker Xover is to be finally transformed into a Sonic with the intention to be Audibly Noticed. Within this Space the Sonic can be one that is not seemingly contaminated by other sonic residuals  being created by the energy being transferred as sound into the room.

Over time I have set up Audio Equipment in a various environments and have become accustomed to how unwanted frequencies can be resent through the produced sound transferring into other local inanimate objects and transforming these into producers of a unwanted audible sonic. 

Not all inanimate objects are removable or able to be simplistically treated, a soft base under a item that has a rattle when in direct contact with a hard surface, is a most basic treatment. A Glass in a Rooms Aperture that resonates is a more involving challenge to substantially reduce the audible intrusion.

My present listening environment is Treated to my Standards but not in a professionally treated sense. I am using my experiences and DIY ancillaries, where the produced ancillaries are using materials that will be incorporated into the ancillaries a professional service will recommend to be incorporated.

My evaluation is that I know exactly where to remove a ancillary and create a sonic that is noticeable for being a intrusive distraction.

For me the above is a Trilogy of Importance.

I do feel the Room undergoing a amount of treatment to reduce the effects of sound that is a residual and intrusive goes a long way to assist with evaluation of adopting the other methods.

How an individual approaches this Trilogy of treating the Audio Interfaces as a 'matter of course' is again each to their own. Where one gets on and off the Bus will be unique for each.

What is a asurity, is that keeping ones ear to the Ground and periodically continuing investigations, will bring new levels of performance and betterment beyond what is already achieved. The impact might just be, that a change of equipment might not seem to carry too much importance, as a result of the benefits already being experienced through working on the Interfaces in the System and Listening Environment.