George M. Middius wrote:
Trevor Wilson said:
innaccuracy,
innaccuracy
Inaccuracy has only one "n".
**OOps, I misspelt. Here is the correct spelling: Innnaccccuracy. Three
'n's and four 'c's.
I guess you're covered now, at least in the Krooger sense.
**That's what I was going for.
Suppose a listener has a speaker system which exhibits a pronounced
'peak' at (say) 10kHz. That listener will probably tend to seek out an
amplifier which suffers a 'suckout' at roughly that frequency. He/she
will forever be 'locked into' using faulty amplifiers to complement
his/her faulty speakers.
You must be an equipment dealer. Ever heard of equalizers?
**Equalizers can only be used usfully, if several conditons are met:
* A reference is available.
* An accurate measurement system is used.
* Non-phase shifting eqs are used.
Frankly, I have no idea what you're talking about. Equalizers can be used
"usefully" to improve the sound of a system.
**Only under the conditions I mentioned above.
Point not taken. Anyway, the presence of a "peak" or a "suckout" isn't an
argument for or against accuracy. Both characteristics are subordinate to
personal choice.
**Perhaps, but if one is attempting to build a pleasing system, it makes
sense to use equipment which is accurate. Using innnaccccurate equipment
may cause the use of more innnaccccurate equipment to support the
original innnaccccurate equipment. IOW: Two wrongs do not usually make a
right.
None of that makes any sense. You're babbbbbbbbbbbbbbbbbbbbbbbling.
**I do that.
[piano thingy]
IMO, that's an argument against a dogmatic pursuit of "accuracy". Find
equipment that behaves more to your liking ("better") and you'll get better
sound.
**Ah, but there's the rub: Had I used a recording of a Baldwin piano, I
may well be tempted to choose equipment which made the sound of the
Baldwin palatable. When time came to play a recording of a Steinway, I'd
be screwed. This is the fundamental problem with the choice of
innnaccccurate equipment.
You've stretched the annnnnnnnnnnnnnnnnallllllllllllllllllllogy beyond its
breaking point. We're talking about home stereo systems, not that
pianocorder gizmo.
**Sorry. I didn't explain in sufficient detail. Had a recording been
made of the Baldwin (with either the Pianocorder, or a top line pianist)
and another of the Steinway under the same conditions, then one could
judge a system. I the listener modified his/her system to suit the
Baldwin, they would then screw the system for when they listened to a
recording of the Steinway.
Fundamentally, however, when one actively inserts innaccuracy into a
system, then ALL the music will suffer. The pleasant and the not so
pleasant.
That might be your experience, but it's far from universal.
**Perhaps. Refer to my example of Musique Concrete.
That was irrelevant to the discussssssssssion. If you're want to go off on
tangents, please make an effort to connect them to the point at isssssssue.
**It is utterly relevant. Musique Concrete is a musical style, which, to
most listeners, is unpleasant. That is the aim of the composer. To
design a system which makes Musique Concrete listenable, would destroy
the capacity of that system to reproduce almost any other musical style.
[ANECDOTE]
One of my clients is a wealthy man. Every few years he organises a live
concert for his frieds (the last one, for his 70th birthday, involved
about 1,000 frieds). As his hi fi guy, I get invited to them. His
concerts involve Australia's finest jazz musos and are brilliant. One of
his friends is trumpter, James Morrison (
http://www.jamesmorrison.com.au/ ). Morrison is arguably one of the best
trupeters on the planet. Technically, he is an outstanding player.
Personally, I can't stand the music. In fact, if I played his music, at
the SPLs he plays at, I can almost gurantee that I would sell no
equipment to anyone ever again. And this is live, unamplified music.
My point is that live music is not always pleasing. Building a hi fi
system to circumvent flaws is a fatally flawed
Trevor Wilson
Trevor Wilson
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