System building; a meditation


System building; a meditation

This is an offshoot of a posting I made in a different thread; that is, what is one’s approach to building a system out of various components that maximizes the sonic attributes of the combination of particular components?There’s been some push-back on “tweaks” but leave that to the side for now. How does one select what components to include in a system, putting to one side budgetary constraints? (the budget thing can be solved in several ways, including through used and through a deliberate strategy to acquire certain components over time that achieve a certain result- my point being, if it weren’t simply a constraint of capital, how does one choose?)

There seem to be a few rules that we abide by- the relationship of amp to speaker being fundamental. The choice of front end –from DIY digital to high end analog is also a choice, but I’ll be agnostic in this regard even though I came up through the LP and still regard it as the mainstream medium of choice, simply because of the wealth of material in older records.

How do people choose the combinations of equipment they employ? Is it happenstance, the gradual upgrading of each component to a high standard or some other benchmark for what the system is supposed to do that necessitates certain choices?

For what it is worth, I don’t endorse one single approach; I went from electrostat listening (including ribbon tweets and subs) to horns, sort of (Avantgardes plus subs) and SET as one choice, but have heard marvelous systems using larger, relatively inefficient dynamic set ups (Magico; Rockport, TG, etc.) combined with big solid state power that left a very positive impression.

How do you sort through the thicket? It isn’t just specs, and listening within your system to evaluate is an ideal, but I’m opening this up to system building in general—what approach do you take? I’m not sure there is a single formala, but thought it worth exploring since it seems to be an undercurrent in a lot of equipment changes without addressing the “why?” of it or how one makes these choices.

I know that we are mired in a subjective hobby, and almost every system is different, even if the components are the same in a different room, but thought this might be an interesting topic for discussion. If not, the lack of responses will prove me wrong. I don’t have a single answer to this FWIW.


128x128whart

Showing 4 responses by tomic601

Let me ponder the winemakers intent..as i sip a nice oaky Chard…out of wait for it……not a wine glass…but a charred oak cup….

Chalice..


Exactly why i recorded my own references, i was there to hear the “ original “ disappearance… and specificity, and impact and bloom, reverberation, decay, attack….

At the highest level of illusion, we should strive for exact duplication

Perhaps it is asymptotic…perhaps not. One way to assure that outcome , would be to aim low…trading colorations like flavors in a recipie…

Nothing wrong with that, The Cat does so enjoy chasing own tail,
Bill  great thread.

All who wander are not lost, just most of them. IF you don’t know where you are going any road will get you there.

Few of us can start with a clean sheet race car mentality or budget. The fully formed, audiophile music addict rarely pops out of the womb that way. So we are somewhat weighed down by our experience and possessions, and key emotional events tied to same.

Start with the goal in mind: My mentor describes it as “ very frequent goosebumps moments of holy cow, I am there in the acoustic space with the performers “

I think a key bit of discernment comes from the question ; what are my references ? Frankly i don’t think it is studio multi track.

i went down a path to etch in my mind and stored media references where i witnessed the unamplified event in reverberant space. In doing some research, that similar quest duplicated by more than a few audiophiles wanting more - see Ken Kreisel aka Real Time Records, Sheffield, Water Lilly, etc. Great examples that people like @bdp24 appreciate. The missing bit was being there…

So set off on my path to build some references where i was there, often fiddling w dials, etc. So my destination is clear, it does not include counting the coins in DSOM Money, chasing details “ i have never heard before “… well, maybe…but i was there. Of course, this model depends on microphone choice and a host of other variables…

So, in short…collect references, even if they are only in the mind.

Deciding on first principles is important.

Some people don’t hear time and phase. My curse is, I do. While i own speakers that are not accurate in those two key dimensions, they are not my reference tools. They do often spotlight limitations and sometimes shine a light on shortcomings in the reference. It also helps to run with a smart, inventive yet perpetually unsatisfied crowd… Why would Peter Walker, noted genius seek to emulate a point source within a planer ?

Got to run, more on first principles later, 31 flavors and cat chasing own tail..

Jim