What is the standard for judging a systems sound?


It is often said in these threads that this hobby is all about the music. That live music is the only meaningful standard for comparison when determining the quality of a stereo system. While these words sound good, are they really true?

A violin should sound like a violin, a flute should sound like a flute, and a guitar should sound like a guitar. Many purists will immediately say that amplified/electronic music cannot be used as a standard since a listener can never really know what the intention of the musician was when he/she recorded it, and what that sound should be.

Even something as simple as an electric guitar has multiple settings from which to choose. Electronic keyboards have hundreds of possible voices, so how does the poor audiophile know how the tone was supposed to sound?

These are valid concerns. Back to the purists!
“That’s why only unamplified classical music can be used as a standard!!!” On face value that looks like an acceptable statement. Consider some facts though. In my immediate family we a have several musicians who play a few different instruments. We have an electric piano (due to a distinct lack of room for a baby grand), acoustic guitar, Fender Stratocaster electric guitar, a nickel plated closed hole flute, a silver plated open hole flute, a viola, and a cello.

I have a fairly good idea how each of these instruments sound. One comment I must make immediately is that they sound a little different in different rooms. Another comment, which demands attention: when I bought my first flute I knew nothing about flutes. I began fooling around with it and enjoyed the sound. I liked it so much a bought a better, as mentioned silver open-hole flute. This flute sounded much better than the first flute. The tone was richer (the only words I can think of to describe the difference).

The reason for that background information is to show that the same instruments in different room’s sound different, AND different models of the same instrument have a much different sound!

If we audiophiles are using live unamplified music as a standard there are still several important issues, which must be addressed. How do we really know what we are hearing? What instrument is the musician playing? Was that a Gemeinhardt or Armstrong Flute. What are the sonic characteristics of the specific instrument. Stradivarius violins sound different than other violins, if they didn’t people would not be willing to pursue them so aggressively. Better instruments (theoretically anyway) sound better than lesser instruments. The point here is that different versions of the same instrument sound different.

I have seen the same music reproduced in different settings. I have heard string quartets play in a garden in Vienna. I have heard the Pipe Organ in Stephan’s Dom. I have heard Rock and Roll in arenas and Performing Arts Centers. I have heard jazz played in small one room clubs, not to mention the above listed instruments played in the house.

Each one of these venues sounds different from the other.

When I am listening to a selection of music at home, how do I know how it is supposed to sound? None of the LPs sounds like any of the particular places I have heard live music, while none of those places sounded like any other either.

There is no standard by which to judge the quality of live music since no two venues sound alike. If everyone were to go to the Royal Opera House in Covent Garden and hear Tchaikovsky’s Symphony No. 6 would everyone hear the same thing? Even if they did, and that one concert became the standard by which all other recorded music was judged, would that be translatable to allow the judging of all other music?

I have never heard a cello reproduced as well as my sons playing in the living room. I have never heard better flute players sound better than my own terrible playing at home.

So what do we audiophiles really use as the standard by which recorded music can be judged?
128x128nrchy
funny but so many people stress comparing stereo performance to live music - what a joke
most live music is not live music but amplified
(a rock band playing through a pa system is not live music in the sense of true tonal reproduction)

I have the luxury of living in New Orleans and can catch jazz bands with little amplification (especially if I am sitting near the front between the pa monitors and close enough to get the sound direct from the instruments

but my favorite moment was at FEz at the Time in Manhattan catching the 18 piece Mingus Big Band 2 years ago. They had let go of their sound engineer and apologized for not amplifying the instuments (except flute). The sound that filled that club was to die for. Dynamic beyond measure and you could close your eyes and with pinpoint accuracy discern the various players. I was in tears it was so overwelming.

I play guitar and I know what guitar overtones on an acoustic should sound like - also the sound of a live piano, you get those two instruments even close in a stereo setting and you get the emotional side of music
You are right on Audiotomb. Live music is usually amplified. I was at a concert last night and the sound was excellent, but I could hear the sax 10 ft in front of me center stage as well as commming out of the monitor hanging from the ceiling to my right. Dynamics is where it's at with live music, no system can do dynamics like live, plus most recording engineers compress recordings to limit the dynamic range.
It is controversal, but important issue. I think all responses above make sense in their perspectives.

Yes, there is the true sound of every musical instrument albeit we don't know what the sound really sounds like. However, what we hear is only perceived sound of music, and we make decision based on the perceived sound.

Our emotion/mood is involved in such perception. Therefore, depending upon our emotion at that time of hearing, people say good or no good.

Theoretically, I think we can reproduce the true sound, but in reality, it is not so easy. That's why we try to change, upgrade, tweak, and do others all the time to get better sound.

In short, as all the above people mentioned, there are so many factors involved in making judgement. Therefore, if you are satisfied with any sound of music in a given circumstance, that is the criteria of judging the sound of music whatever components you are using and wherever you are.

Happy New Year.
I've enjoyed reading this thread immensely. I think the first post hits the nail on the head. Although I have a very large collection of musical recordings, I can honestly say that I have only experienced live performances by maybe 1% of the artists in my collection. I may be in the minority here, but reproducing a live event though my sound system has NEVER been one of my main objectives in assembling a musical system or enjoying it thereafter. Trying to guess what a live performance would sound like from each artist in each setting would be like chasing an intangible for me.

This is why I like this hobby so much. Everyone is in it for something different. The lucky ones that frequent live events have every right to attempt to recreate the experience. Others have never even been to a live concert, so to speak, and simply want to expose themselves to as many different types of music as possible through recordings on vinyl, tape or CD. Still there are others who prefer the intimacy and privacy of headphones and are accustomed to this sound that others consider "unnatural".

I believe this is one reason why there is still such a debate over 2-channel vs. surround sound audio. I have heard $100,000 surround systems set up by manufacturers at their booths and STILL do not think it sounds natural to MY ears. This is because I grew up listening to 2-channel and this is what my experience tells me the music should sound like through an audio system. I also prefer CD to vinyl (everyone cringe), but I have heard very good examples of both and still prefer CD. I think it's all about your comfort zone and what your listening experiences have done to shape your perception of what sounds right.

Ever go to a concert and listen to the guitar solo that you've heard hundreds of times on your home system and been disappointed at the way it was played or sounded live? Sometimes the recorded event surpasses the live, and maybe it's just because you're used to the studio sound and actually prefer it.

I don't claim to have the end-all of home theater setups, but I at least know that all channel levels are matched, and the sub is set to the appropriate level. Most of my friends and family are not audiophiles by any stretch. Visit their homes and they all have the sub cranked way up and the typical rumble sounds great to them. They always ask me why I have my sub level set so "low". Even though I know it's at the proper level, their preference is for the rumble-box sound that sounds better to them. They're used to it, and that is what sounds right to them. Technically, we could all fault their preference, as we "know what is right and wrong" in the way something sounds, but from a perception and enjoyment standpoint, why make them listen to something that doesn't sound right to them, just for the sake of being at "reference" level?

The same can be said about various forms of music and how a person evaluates their sounds system. Some would argue that classical or acoustic jazz recordings are the reference for judging timbre, soundstage, etc. It is true that many mainstream recordings are poor, but many enjoy the actual music and how it makes them feel without regards to how the treble was recorded "hot" or bass energy is extreme in the 40Hz region, etc. If a guy listens to Metallica and enjoys it, then he should build a system that will make him happy listening to Metallica. He would probably consider a 5-watt single ended triode amp to be a waste of money and a poor product choice, even though these are cosidered the Holy Grail in musicality for others. In this case, an old high powered Adcom could be considered a better amp than a Cary.

In any case, at the point when all I want to do is sit down and listen to disc after disc (or tape or LP) without the thought of what could sound better is when I have achieved the goal of my sound system. I've had glimpses, but never for long. Hopefully the day will come.

Sorry to be so long-winded.
And then there's the question of the different distortions added by the various microphones and recording techniques/machines used...

Of course Nrchy you are right in your critique, but there's still validity in the preference for acoustic instruments recorded live with minimal mic'ing in a real performance space, and with minimal alteration/processing during mixdown (or no mixing altogether). I won't go into all the possible reasons for this here, other than to say that it *is* very easy to hear for yourself that such records are usually far more revealing of the fine nuances of things like timbre and harmonic structure, low-level detail, and spatial cues than are recordings of electric instruments cut in multitrack studio settings. In other words, when I want to really hear what some change to my system is doing to the music, I always make sure to put on some more or less naturally-recorded acoustic material in addition to whatever else I might use, because quite simply it will show me the differences in the most revealing light possible.

None of which means that one can't or shouldn't use electric rock or whatever else to audition with, especially if that music accounts for most of what you listen to at home. Such recordings can and will be more demanding of systems in certain sonic areas where many acoustic performances tend not to be, and thus can reveal other qualities about a system. But what really helps is to keep the law of averages on your side, by auditioning many different kinds of music and recordings: If one system configuration can consistently give you a more natural impression - with more of your recordings - than some other system configuration can, than it's a good bet that system is, overall, providing reproduction that's closer to the 'truth', whatever that may be for any one given record. By the same token, utilizing a broad spectrum of recorded sources allows more accurate identification of any constant colorations or other distortions that are actually being contributed by the system itself. My own philosophy is of the 'master-tape' school of thought: The best you can strive for in a playback system is to 'accurately' portray what was laid down on the master-tape, as opposed to the live performance that tape was attempting to capture. Some will disagree, but I think that by trying to do the former, you are apt to get closer to achieving the latter on a more consistent basis. But you'll never get all the way there, or really even near enough for rock'n'roll...

One more thing: The very best, most revealing recorded source you can possibly use is the well-recorded speaking voice of someone you know well (not yourself! - we don't know what we sound like to others). But even this test only illuminates a relatively small portion of the frequency and dynamic ranges, and is not terribly complex or demanding a signal compared to group music. Its virtue is that we are intimately familiar with that voice as a reference, and that evolution has provided that our ears are most sensitive to minute variations in the human voice. The fact that this ostensibly simple test can never be satisfactorily met tells us all we need to know about what kind of chance we stand trying to reproduce live music convincingly.

Which is why, in my system, I don't try to. I just want my system to sound pretty good to me, meaning fairly uncorrupting of what my own sense about the 'correct' sound of decent recordings ought to be, with as little obvious sound contribution of its own as I can manage given my budget and commitment limitations. At the end of the day, if I can get close enough to where I'm not thinking about the sound of my system but just the music I'm playing, I really suspect that's all I can ask for. The funny thing is, this is very easy for me to do when I'm listening to a crap system, like the one I purposefully leave as stock in my car or my kitchen radio - I dial it in as well as I can, and then proceed to just get lost in the music, if it's good music. Only with the higher fidelity sound of the big rig do I tend to focus nearly as much on purely sonic attributes - is that self-defeating, or just the nature of the beast (or both)?