Lots of good advise so far.
1A) Patience.
1B) Patience.
1C) Patience.
1D) Patience.
1E) Patience.
Ok now that the most important issue is out of the way.
2) Educate yourself in how and what to listen for in music. The Artist and Sound Engineer don't give us instructions on how there tone should sound, the location of the instruments within the sound stage what a Straticaster (SP) sounds like verses a LesPaul (SP), what a Fender tube amp sounds like verses a Pevy (SP), Why an artist might change the pickup in their guitar to alter the tone of the instrument or why they choose a specific cable to bring forward the midrange of their guitar, how to listen to a grand piano with the lid of the cabinet closed verses open and the irritating resonance (that interfers with the sweet decay of the note) of that piano with the lid closed even when it is a Steinway, what kind of microphone was used, what sound board, what monitors, what effects. Ok I think that covers (2). If you don't get the point yet sell your system and invest in your significent others listening room.
2A) Patience.
3) The accoustical environment that the recording was done in. Is the room alive, dead or some where in between. Are the artists in there own rooms in the studio where each has its own acoustic signature. Can you tell if a kick drum has the back cut out, does it have a blanket or foam in it, is it reflecting and reverberating from the paint on the walls, is the mic in the room picking up those reflections or is there accoustical foam absorbing the snare softening the sound. Or are the musicians in a single room where the main mic picks up the sonic signature of the other instruments within a given room. How has the engineer set instruments (The human voice is also an instrument) within the sound stage. Is the engineer affecting the tone of the instruments through the board or is the engineer working with the artist to achieve the tone they are after in a given song. If you have not gotten it at this point I recomend investing in a good boom box phillips would do nicely.
3A) Patience.
4) Your ears should not hurt even during long loud listening sessions. If they do "THE TONE OF THE RECORDING IS DONE IN SUCH A WAY AS TO PROVIDE A BRIGHT HARSH SOUND" In other words what equipment was used by the sound engineer (Ears are equipment) does the engineer have hearing damage at certain frequency ranges. Ok for those that have hung on this long I assume you get it, now it is time to accept the following realities.
4A) Patience.
5) Ok learn what quality recordings and tone are all about. What are the artist and engineer trying to achieve. What equipment and environment were used. Audiophiles IMHO are engineers whether we want to admit it or not. Trying to achieve and accurate reproduction of the recorded music. If you are easily offend read no further.
5A) Patience.
The slam!! Does everyone get it yet. You are an engineer. The producion of sound or should I have refered to posts 1-5 using high end audio equipment and listening room acoustics.
The ultimate slam!!!! The musical reproduction system is only as good as the sum of its components. (The Human Ear is a component), the room is a component. Without good listening habbits and the right environment within which the reproduction of music is to be done, it doesn't matter how much you spend on what. Now lets see is the problem the recording engineer or the reproduction engineer. DAM ENGINEERS WHAT ARE THE GOOD FOR, JUST GIVE ME THE MUSIC AS IT WAS MENT TO BE HEARD BY THE ARTIST. OH I FORGOT :-( I HAVE BEEN ENGINEERING MY NEW SYSTEM FOR THE PAST NINE MONTHS TRYING TO DO JUST THAT.
It is a journey and the education along the way is worth every penny spent.
Ladies, and gentlemen good luck in your searches may your ears guide you through life.
1A) Patience.
1B) Patience.
1C) Patience.
1D) Patience.
1E) Patience.
Ok now that the most important issue is out of the way.
2) Educate yourself in how and what to listen for in music. The Artist and Sound Engineer don't give us instructions on how there tone should sound, the location of the instruments within the sound stage what a Straticaster (SP) sounds like verses a LesPaul (SP), what a Fender tube amp sounds like verses a Pevy (SP), Why an artist might change the pickup in their guitar to alter the tone of the instrument or why they choose a specific cable to bring forward the midrange of their guitar, how to listen to a grand piano with the lid of the cabinet closed verses open and the irritating resonance (that interfers with the sweet decay of the note) of that piano with the lid closed even when it is a Steinway, what kind of microphone was used, what sound board, what monitors, what effects. Ok I think that covers (2). If you don't get the point yet sell your system and invest in your significent others listening room.
2A) Patience.
3) The accoustical environment that the recording was done in. Is the room alive, dead or some where in between. Are the artists in there own rooms in the studio where each has its own acoustic signature. Can you tell if a kick drum has the back cut out, does it have a blanket or foam in it, is it reflecting and reverberating from the paint on the walls, is the mic in the room picking up those reflections or is there accoustical foam absorbing the snare softening the sound. Or are the musicians in a single room where the main mic picks up the sonic signature of the other instruments within a given room. How has the engineer set instruments (The human voice is also an instrument) within the sound stage. Is the engineer affecting the tone of the instruments through the board or is the engineer working with the artist to achieve the tone they are after in a given song. If you have not gotten it at this point I recomend investing in a good boom box phillips would do nicely.
3A) Patience.
4) Your ears should not hurt even during long loud listening sessions. If they do "THE TONE OF THE RECORDING IS DONE IN SUCH A WAY AS TO PROVIDE A BRIGHT HARSH SOUND" In other words what equipment was used by the sound engineer (Ears are equipment) does the engineer have hearing damage at certain frequency ranges. Ok for those that have hung on this long I assume you get it, now it is time to accept the following realities.
4A) Patience.
5) Ok learn what quality recordings and tone are all about. What are the artist and engineer trying to achieve. What equipment and environment were used. Audiophiles IMHO are engineers whether we want to admit it or not. Trying to achieve and accurate reproduction of the recorded music. If you are easily offend read no further.
5A) Patience.
The slam!! Does everyone get it yet. You are an engineer. The producion of sound or should I have refered to posts 1-5 using high end audio equipment and listening room acoustics.
The ultimate slam!!!! The musical reproduction system is only as good as the sum of its components. (The Human Ear is a component), the room is a component. Without good listening habbits and the right environment within which the reproduction of music is to be done, it doesn't matter how much you spend on what. Now lets see is the problem the recording engineer or the reproduction engineer. DAM ENGINEERS WHAT ARE THE GOOD FOR, JUST GIVE ME THE MUSIC AS IT WAS MENT TO BE HEARD BY THE ARTIST. OH I FORGOT :-( I HAVE BEEN ENGINEERING MY NEW SYSTEM FOR THE PAST NINE MONTHS TRYING TO DO JUST THAT.
It is a journey and the education along the way is worth every penny spent.
Ladies, and gentlemen good luck in your searches may your ears guide you through life.