Solving the "complex music problem"?

@frogman

Great and insightful comments.

Not related. But I have an album that the cover notes extolling the magnificence of the recording capturing the ambiance of the venue… I was excited… put it on the turn tablet… no ambiance… no venue sonics. Then on the back cover, diagrams of how they clustered instruments and put plexiglass partitions to isolate their sounds and mic them separately. OMG… the recording was dead… no venue.

Then there was this recording of a solo violinist… famous guy. The entire back cover talking about the incredible sweet wonderful sound of his playing. My immediate first impression was that is a description of the sound of a Stradivarius. I have had the privilege of hearing several. No where on the album did it say the instrument he played. I went and research it… he played a Stradivarius loaned to him until he stopped playing. The sound was not his virtuosity, but the instrument he was playing. He is a great violinist… but every comment was about his instrument and not his playing.

My point? Hmm, not sure… but learning about sound… and music you realize you can discover amazing depth and understanding. If you attend real (acoustic) concerts and make really good choices in high end audio you can experience and understand the real world of music.

To me, it is a combination of things. I call it congestion. Where it loses its direct, immediate quality of conveying the sound of an instrument and begins to sound like a recording playing at you. Some people opt for more analytical systems to deal with this-I’m not sure that’s a good answer.

I’ve found that as my current system (circa 2006 or so) improved, so did the ability to separate out instruments and not get the impression of a congealed, congested presentation.

I also think it has to do with the recording and mastering. I’m not a fan of "audiophile" recordings for sake of sonics, but instead, chase stuff that is interesting to me-- that often involves a search and sometimes, the OG is it; the recording has been reissued by not from the master tape or even a safety.

For later records, it is less of a problem but still an issue regarding quality of pressing and mastering. I try and stick with OG records, but have various remasters of some things. I was shocked by how good an old Delmark OG was compared to the Chad recut. Buddy Guy with Junior. Finding an unmolested mono or stereo from back in the day is nigh on impossible, so we settle for Chad’s recut, which is very good.

But we lose something in the process. That’s why there is so much variation in SQ among records, even those purportedly cut from the tape.

Room acoustics, Room acoustics, and again Room acoustics is the element that is most neglected in the home Hi-Fi environment.

Same system in acoustically treated room, and the very same room that you remove acoustical elements sounds way, way different.

Instantly you will put back your acoustical elements back no matter how ugly/nice looking they are.

Today you can find on internet tube bass trap units that are not ugly and dark as they where before, but they are more like room effective decorative element in wide range of colors and shapes that can fit in any space, and of course to satisfied woman's perspective.

@subsystemtechnology , congrats on your first post and welcome to the forum. I agree with you 100%. When you have time could you post your system in your profile? Always interesting to compare. thx.

I use horn speakers pointed right at my earballs when I'm in my "sweet spot" chair and really only the bass is reflecting off of anything, but that's what bass does. I adjust the subs if they get too much or too little...rarely. Then if I sit elsewhere in the tall ceilinged largish room it sounds like great music is being played by musicians in that end of the room, and everything can be heard. Everything. If your system doesn't do that, well, I don't care. I don't even know you...get away from me...grumpy old man alert!