Well said and well explained...Thanks ...
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.