I know we talk a lot about confirmation bias- we buy something and then convince ourselves we like it. Or something like that. But did you ever buy something you wanted to love and just couldn’t make it work? For me, Esoteric X-05 SACD/CD player. Bought from a local who was upgrading to the X-03. Big, beautiful piece of gear, but I couldn’t get used to the sound after 6 months of trying. Sold it to another local- I insisted he listen before he bought and I believe he sold it soon after as well. Totem Forest and Hawk. I loved the whole concept. Slim, easy to live with. Couldn’t get them to work in my room. The Model Ones were much better. I had a couple of other pieces, but this is long enough. BTW, these were bought used without audition.
Schiit. Tried many of their products including, yet not limited to, Freya Freya +, Mani, Yaggy OG A2, Vidar and the Skoll. Not sure what it is but after a period of time, quite unbecoming to these ears.
@cleedsI remember reading one of your posts from last year where you mentioned you replaced the Aurender with a Bryston BDP-3. I sent you a message earlier today with some questions about the Bryston. If you get a chance, could you please share your thoughts?
I have had many. But what sticks out in my mind is the Sonic Frontiers equipment.
I had the CD Player and the Dac. The player must have had the Phillips transport and never really worked right. Disc's were constantly getting stuck inside. I had to take the cover off to get them out! Sonic Frontiers-Chris kept blaming it on bad discs. Never honoring the warranty.
I like a lot European and many others countries jazz...Most are focussed on American jazz for sure... 😊
I am fond of bebop hard bop and all bop variations too numerous to name but viewing the list of jazz styles i like a lot more than i could name... etc...😁😋😎
A style of music and improvisation that combines avant-garde art music and composition with jazz. It originated in the 1950s and developed through the 1960s.
Bebop or bop is a style of jazz characterized by a fast tempo, instrumental virtuosity, and improvisation based on a combination of harmonic structure and occasional references to the melody.
Cape jazz (more often written Cape Jazz) is a genre of jazz that is performed in the southernmost part of Africa, the name being a reference to Cape Town, South Africa.
Dixieland music or New Orleans jazz, sometimes referred to as hot jazz or early jazz, is a style of jazz music which developed in New Orleans at the start of the 20th century. Stylistically it is essentially a form of Ragtime, typically transposed for brass band, banjo and/or clarinet.
Ethno jazz, a form of ethno music, is sometimes equaled to world music or is regarded as its successor, particularly before the 1990s. An independent meaning of "ethno jazz" emerged around 1990.
Free improvisation is improvised music without any specific rules. By itself, free improvisation can be any genre, it isn’t necessarily jazz. Free jazz musicians make use of free improvisation to alter, extend, or break down jazz convention, often by discarding fixed chord changes, tempos, melodies, or phrases. Ornette Coleman was an early and noted advocate of this style.
A style of jazz music often said to have been started by guitarist Jean "Django" Reinhardt in the 1930s. The style was originally called "hot club" or "hot jazz" and served an acoustic European interpretation of swing. The term "gypsy jazz" didn’t appear until after the 1970s, when Sinti people adapted their folk music to emulate that of Django’s.
Although not a distinct style, this is typically used to refer to songs that include idiomatic "jazz" embellishments to the standard form, such as the use of extended harmony and chord substitutions. At a minimum, jazz blues usually include a ii–V progression in place of the simple V chord and a I–VI/vi–ii–V turnaround at the end of the form.
Jazz-funk is a subgenre of jazz music characterized by a strong back beat (groove), electrified sounds, and an early prevalence of analog synthesizers.
Jazz rap is a fusion subgenre of hip hop music and jazz, developed in the late 1980s and early 1990s. The lyrics are often based on political consciousness, Afrocentrism, and general positivism.
A comparatively accessible, "retro" genre that emerged in the 1980s as a stylistic reaction against free jazz and jazz fusion. Notably associated with Wynton Marsalis.
The name given to the renewed interest in swing music from the 1930s and 40s. Many neo-swing bands practiced contemporary fusions of swing, jazz, and jump blues with rock, punk rock, ska, and ska punk music or had roots in punk, ska, ska punk, and alternative rock music.
A form of slow or erratic contemporary jazz. Jazz noir (also known as "doom jazz" or "dark jazz") is noted for its often somber, mysterious or even sinister tone. It takes inspiration from film noir soundtracks and dark ambient music.[4]
A genre of small-combo jazz that assimilates hard bop, modal jazz, avant-garde and free jazz without necessarily being immediately identifiable as any of those forms
The amalgamation of elements of the jazz tradition (usually free jazz and jazz fusion of the 1960s and 1970s) with the instrumentation or conceptual heritage of punk rock
Music derived by fusing the melodic content of jazz with the rhythmic and harmonic content of early Jamaican Music introduced by the "Fathers of Ska" in the late 1950s. It is sometimes considered a subgenre of Third-Wave Ska.
In general a smooth jazz track is downtempo (the most widely played tracks are in the 90–105 BPM range), layering a lead, melody-playing instrument (saxophones – especially soprano and tenor – are the most popular, with guitars a close second) over a backdrop that typically consists of programmed rhythms and various synth pads and/or samples.
A form of Jazz created in the 1960s with roots from the previous two decades. It omits elements from rock music and free jazz that began to appear in this period, instead putting more emphasis on acoustic instruments and a more conventional sound.
hey @stuartk - you like progressive jazz , which is what I initially liked when it was current when I was in college. My taste evolved when I got older and started listening to "real" jazz (Sirius' designation, not mine). I still mix some of the progressive stuff in - Pat Metheny, Earl Klugh, George Benson, Lee Ritneour, Grover, Bob James, and even a little Spyro Gyra when the mood strikes). It's OK if your taste never evolved....
@knock1 - I guess I should have said if you don't like Kind of Blue, you don't enjoy listening to jazz. You are equating not liking it to disliking it. There is a difference.
We are defined by our love... Nevermind the rest of which we are indifferent...
I love so passionnately some musicians and composers all the others can be put way behind the scene for me... It does not means they are not great... They are for some others people...
«Love is more merciless than an executioner who kill at least according to a law»-- Groucho Marx🤓
No Chet Baker. No Ella. No Ellington. No Armstrong. No B. Holiday. No Basie. No Dolphy. Gee, I must really hate Jazz! Actually,I don’t hate any of the above. There are simply other Jazz artists to whom I’d rather listen.
Bryston amps. Dry, sterile, flat, then least musical components I have ever suffered through hearing. McIntosh anything. Just don't like the "house sound" of the big M. Obviously this is subjective.
@benanders enlighten us then, how confirmation bias work.
@knock1hi, who is “us”? I don’t recall communicating with you before. If you have a question or counterpoint, all good. But if your comment’s an invitation for me to type up general info on a matter that’s already covered abundantly elsewhere, I’ll respectfully pass.
If you don’t like Miles you don’t like jazz, and that’s OK.
Jazz comprises more than 50% of my listening and at times has comprised a much greater proportion since I first began exploring it in the mid 70’s. There are numerous Jazz luminaries and genres missing from my collection because they simply don’t engage me. I’m not a scholar. I’m a music lover and I listen to what pleases me.
RE: Miles, the Second Great Quintet and its predecessor with George Coleman constituted "desert island" recordings for me. I own none of the recordings by the earlier Quintet with Coltrane.
No Chet Baker. No Ella. No Ellington. No Armstrong. No B. Holiday. No Basie. No Dolphy. Gee, I must really hate Jazz! Actually,I don’t hate any of the above. There are simply other Jazz artists to whom I’d rather listen.
Thanks for reminding me of Adcom. Have had the 555s and then the monos and couldnt really ever come to like them. Still use a 535 in my garage, although this is soon to be replaced with most likely a vintage tube integrated. If I dont sell my pair of vintage horns soon, A. Dudley's reference, they are destined for the garage as well.
Adcom GFA-545 (Nelson Pass version). Lusted after them in the 80’s when they came out, but could not afford them. Bought one used, and ultimately decided it was just too ‘dry’ and a bit grating to my ears. Sold it off to a local Adcom fan.
Replaced it with a B&K 125.2 and it was like night and day to my ears….so comforting in its presentation. It was like ‘home’. Still like most old B&K amps for their presentation, have one in my bedroom system.
Zu Cube speakers, the shrill of the Lowther Shout was unbearable.
McIntosh MA6500, the ridiculously bad phono stage, not to mention the overall product quality (illumination bulbs, meters, screeching potentiometers).
@artemus_5the same here, I can’t get through the whole side of the album and I have tried numerous times. Not even close to my cup of tea.
@sokogear"If you don't like Miles you don't like jazz, and that's OK." I do not have beef with Jazz and definitely I am not the one who does not like it, just The Kind of Blue is annoying to me.
To get back to the regret-drenched topic of this thread: some years ago I went through a long period of researching passive volume controllers. I had been using a very nice sounding, transformer based PVC from NHT for years, but needed additional outputs, so went on a deep PVC dive. Ultimately it led me to a Goldpoint PVC that (with much difficulty) I had the mfr configure the way I wanted, not the way he wanted. Paid a lot, put it in system, and the sound was horrifying: thin, bright, lifeless.
In fairness to Goldpoint, which makes terrific stepped pots, PVCs that don't use transformers or autoformers often sound pretty bad, as they're wholly dependant on the impedance/capacitance of whatever is upstream & downstream.
In any case, I wasn't paying attention. The answer was to search for PVCs that use transformers or autoformers. There are some beauties of this kind out there. Unfortunately they're very expensive. Ah, well. Another day, another unfulfilled obsession...
Totally agree re A Love Supreme. But love his lyrical stuff (e.g., My Favorite Things, Plays the Blues, Ballads, etc.), and love virtually everything he did with Miles - the contrast with the Miles “notes not played” approach was pretty brilliant.
I listen to jazz probably 40% of the time (otherwise classic rock - only classical is that part of Days of Future Passed), mainly late fifties to mid 60's with a little progressive stuff in there from the 80's and beyond.
Of course Coltrane is heavily in the mix. I just can't stand A Love Supreme and it is always rated highly among his records. Same goes for a few other very highly rated jazz choices that are I guess a little too "out there" for my taste like Eric Dolphy and Wayne Shorter's The All Seeing Eye..
If you don't like Miles you don't like jazz, and that's OK. Kind of Blue is a masterpiece, highly influenced by the great Bill Evans. This is the only album of Miles' he plays on. BTW, I only like Miles' records from the late 50's to early 60's, and I know Bitches Brew is always named among his best, but that is also in the Love Supreme category. I just don't get it.
Be it Miles Davis and any other great musicians or Bach or Ali Akbar Khan, we cannot impose our values and tastes... We can only communicate them politely...
Anyway all great musicians are in a world of their own and are uncomparable and all necessary for humankind ...
Even those i will not name whom i like less...😊
Never understood the concept of bashing someone else’s preference in music. Personally, I have nothing against classical music, but I wouldn’t listen to it even if I could use someone else’s ears to do so. It’s not good or bad, it’s just not what I like. I also never audition my system for others because I didn’t build it to please others. I built it to please me, and it does that admirably.
Never understood the concept of bashing someone else's preference in music. Personally, I have nothing against classical music, but I wouldn't listen to it even if I could use someone else's ears to do so. It's not good or bad, it's just not what I like. I also never audition my system for others because I didn't build it to please others. I built it to please me, and it does that admirably.
Phillips SACD 1000. Back in 2001, it was all the rage. Made the cover of Stereophile, lots of hyperbole. It originally sold for $2k, but all of a sudden I saw prices at $400, so had to do it. Well, turns out it suffered from a known flaw with the cd transport that Phillips couldn’t, or wouldn’t fix. I mean, this was a gorgeous piece of gear: heavy, beautiful, minimalist. But even before my transport gave out, I didn’t really hear it as the game-changer I was hoping for. There were almost no SACDs around, and I had a pretty nice, modified Nakamichi changer. I was able to get my money back, but it did involve a little conflict with the dealer.
Thanks. I've never been one conform just to please others. Indeed others may not like what I like but it doesn't make them bad or inferior. Just different tastes.
+1 not loving a component may simply be a subjective preference vs the quality of the component. While Magico and YG resonates with me, Wilson never did although I tried several times at multiple dealers and audio shows.
Anyone who does not get Bach "art of the fugue" a) lack a soul and b) does not deserve to even call themselves a music lover. Harsh but true!
Anyone who does not get "Kind of Blue" a) lacks a soul and b) does not deserve to even call themselves a music lover. Harsh but true!
😁😊😋😎
(But our musical biases, even the informed one cannot be imposed on others back, especially after a false alternative proposed as truth...)
The only exception for sure is Bach partitions😉... Any of them MUST be loved and merit to be put over anything ( i really think so by the way😜 ) ... Period... I am half joking here...
Bach is my forever favorite composer...And i am not alone in my gang of enlightened souls...
I apologize i could not resist...
After all Bach art of the fugue is over a jazz session so good it was and it is... I apologize to Miles and the others who anyway will be Ok with my opinion because they are first rate musicians ...
My Jazz albums / CD's. Especially "Kind of Blue" I've never been able to listen to the whole album because it puts me to sleep. I know one must be a jazz or female vocals guy in order to have an affirmed audiophile card but those genres just don't move me.
Me too. I’ve come to like some jazz but I can’t get into Miles. 🤷🏻♂️
Grado Ref. moving iron cart. Didn't have any liveliness regardless of phonostage settings. Seemed to be in between somewhere, and I finally gave up on it.
That happened to me with a McIntosh amp and preamp. I gave them about six months, a period where I tried different cables and different speaker positions. To be fair, it was a great sounding combo and I loved the look, but it just wasn't checking all the boxes for my personal taste in the way I wanted my system to sound. Luckily, I don't suffer from confirmation bias and I didn't take too bad of a beating when I sold them. I do suffer from buyer's remorse, and I can safely say that the amount of pain you derive from it is directly proportional to the amount it cost you to inflict it upon yourself. 🤑
I always wanted McIntosh stuff from when I way back in college (the 1970's), finally had the house and the money to get an amp and pre (sometime in the early 2000's) and never liked them. I thgough it was me or my other equipment, but nothing made it sound good. This is just my expereience and opinion. Loved the looks though.
Now the last time I said something against McIntosh stuff, even though I said clearly it was just my opinion, I was insulted to the point that I made a complaint to the moderator. She took the thread down. I am hoping that doesn't happen again, but wanted to add to this thread, which I find interesting.
I bought a Benchmark preamp because it had nearly perfect specs and when I put it in my system it was just dull and lifeless. I ran it for a month constantly and it just never seemed to sound good at all. There was a time in my life where I bought a lot of preamps and at times had no preamp. My Classe is as close to perfect as I could find. Very easy to listen to for hours and hours.
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