All that is wrong with "HiFi"

I had a boom box (cassettes and radio) in college (early 1980s). Definitively not high fidelity, but there was never a problem connecting "emotionally" to the music.

We don't need high fidelity to connect to music. It's all about expectations.

Correct. A car radio can do just fine. However, such lower fidelity reproduction will not allow you access to the visceral impact and to the finer nuances which can heighten emotional involvement even more.

If you do have a "high fidelity" system and cannot seem to enjoy listening to it, take a break...

...and re-think your system approach.
 
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I had a boom box (cassettes and radio) in college (early 1980s). Definitively not high fidelity, but there was never a problem connecting "emotionally" to the music.

We don't need high fidelity to connect to music. It's all about expectations. If you do have a "high fidelity" system and cannot seem to enjoy listening to it, take a break...

It’s very true that you don’t need “high-end” to engage with the music, but I’ve heard a lot of high-end systems that disengage me from the music.
 
It’s very true that you don’t need “high-end” to engage with the music, but I’ve heard a lot of high-end systems that disengage me from the music.
The further we push things the easier it is to tip out of balance. Bit by bit we have been ‘improving’ the parts but have we ultimately made things better on the whole.
 
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True.

I do, however.
Everybody should have choices. One of my favorite venues, the Musical Instrument Museum Theater, capacity 300 in Phoenix Arizona needs amps. Molly Tuttle and Golden Highway literally blew the audience away three nights in a row. They couldn’t do that unamplified.
 
Everybody should have choices. One of my favorite venues, the Musical Instrument Museum Theater, capacity 300 in Phoenix Arizona needs amps. Molly Tuttle and Golden Highway literally blew the audience away three nights in a row. They couldn’t do that unamplified.

Of course.

I am not a snob and know about the importance of amplification in music. One and a half months ago I traveled from the US to Europe (Strasbourg, France) for the sole purpose to see two concerts with music by Stockhausen, the work Sirius, with electronic music (of course amplified) and four soloists, bass voice, soprano, trumpet and bass clarinet, all amplified as well (it would have been impossible otherwise). It was that important to me, and the concerts were amazing. And Strasbourg turned out to be an amazing city.

Yet still, concerts of, and reproduction of, unamplified music play a central part in my musical life. And the sound crucially informs the tuning and tonal balance of my system.
 
What finish would you prefer ? a nice shake n spray can matt black undercoat or a lovely tone Of Sack Cloth n Ashes perhaps ?

Some of the best sounding components I have heard have been dressed in rather ordinary enclosures. Look at gear from Exposure and LFD for instance.
 
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DDK always said its the reviewers fault that the audio industry is the way it is , most of them dont know what music sounds like .
I tend to agree
That’s just DDK talking his book.

He HAS to become the sole authority on what sounds real to sway his customers. Then customers literally buy into those insights. As for “most” reviewers not knowing what music sounds like that’s a straw man - a big, natural-looking one. Can anyone name even one prominent reviewer who hasn’t regularly heard live music, either at concerts or having been involved with the recording arts?
 
Correct. A car radio can do just fine. However, such lower fidelity reproduction will not allow you access to the finer nuances which can heighten emotional involvement even more.
That's the idea, but sound quality awareness can also distract us. It is also difficult to assign degrees to "emotional involvement".
 
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That’s just DDK talking his book.

He HAS to become the sole authority on what sounds real to sway his customers. Then customers literally buy into those insights. As for “most” reviewers not knowing what music sounds like that’s a straw man - a big, natural-looking one. Can anyone name even one prominent reviewer who hasn’t regularly heard live music, either at concerts or having been involved with the recording arts?

 
He HAS to become the sole authority on what sounds real to sway his customers. Then customers literally buy into those insights. As for “most” reviewers not knowing what music sounds like that’s a straw man - a big, natural-looking one. Can anyone name even one prominent reviewer who hasn’t regularly heard live music, either at concerts or having been involved with the recording arts?

It would be sad if it were not so amusing to hear someone who does not own an audio system talk disparagingly about an audio dealer and his customers.
 
In reflecting on the current state of the industry, I've noticed a troubling trend with reviewers and influencers. It appears that many reviews are more like industry-sponsored promotions rather than genuine evaluations. This lack of honesty undermines the integrity of reviews, making it increasingly difficult for consumers to trust them. The situation seems to be worsening with the rise of online influencers and YouTube reviewers, whose content often feels swayed by commercial interests.

Hidden agendas seem to play a significant role. Some reviewers appear to have personal ties with companies, which could compromise their impartiality. Others might be influenced by financial incentives, further clouding the credibility of their evaluations.
 
Everybody should have choices. One of my favorite venues, the Musical Instrument Museum Theater, capacity 300 in Phoenix Arizona needs amps. Molly Tuttle and Golden Highway literally blew the audience away three nights in a row. They couldn’t do that unamplified.

To where were they literally blown? Into the hallway?
 
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That’s just DDK talking his book.

He HAS to become the sole authority on what sounds real to sway his customers. Then customers literally buy into those insights. As for “most” reviewers not knowing what music sounds like that’s a straw man - a big, natural-looking one. Can anyone name even one prominent reviewer who hasn’t regularly heard live music, either at concerts or having been involved with the recording arts?

David did not convince me of anything. He told me to pick one of my records and put it on his turntable and listen to the music and sit anywhere I wanted. He didn’t say a word. No convincing, no authority, nothing. His four systems did the convincing.

You do not sound as though you understand why his customers are swayed. No one describes him as the sole authority. That is just nonsense.
 
It is quite difficult to achieve a truly musical non fatiguing system. I have achieved this at what I consider a very reasonable cost, about 750K. It is practically impossible to make my system sound bad. Even lousy recordings are quite listenable. I enjoy music. I want a system that produces beautiful pleasing sound that I look forward to hearing and never tire of. It's been a 60 plus year trek and there is no guarantee of success. In order to achieve this I had to accept that it couldn't be done without tubes. I am sure that with the right SS amplification, the same musicality or even better could be achieved with my XVX, but then that would push the cost up beyond my budget.

Many years ago my Dad's living room possessed Bozak Concert Grands, Grado turntable and arm with a Grado cartridge, McIntosh C-22 pre, and McIntosh MC225 stereo amplifier. Also a Tandberg 64X reel to reel tape deck. Prior to the system I have now that was the last truly musical system I have heard. And it caused me to fall in love with high end audio. Systems like my Dad's can be reproduced or recreated. The Concert Grands had the most beautiful and open midrange fully competitive with my XVX.

Amps: McIntosh: MC3500MKII (2); MC1.25KW (2); MC2.1KW An
Preamp: C-12000 An
Sources: MCD12000 An; MVP881; MVP851; MR87; Marantz 510LV; Lenovo Yoga laptop
Speakers: Wilson Chronosonic XVX
Sub-Woofer: Wilson Thor’s Hammer; Wilson ActivXO Stereo Electronic Crossover
Cables Main System AQ: WEL Signature speaker cables; 24’ balanced IC; balanced 1-meter Dragon IC ; WEL Signature digital, Coffee digital coaxial cables; Diamond optical (2); Diamond USB; Dragon (5 HC, 3 source cords); Thunder & Monsoon power cords
Cables Subwoofer System AQ: Redwood speaker cable; Wolf balanced subwoofer IC; Wind balanced IC to ActivXO; Hurricane HC; Firebird HC; Firebird Source; Dragon HC, power cords
Power Conditioners: AQ Niagara 7000; Niagara 5000 (3); (4) dedicated 20-amp lines.
Isolation: Wilson Pedestals; Bassocontinuo McIntosh Ultra Feet; X-material plinth
Cabinet: Double Custom Woodwork & Design (CWD)
Acoustic Treatments: Room and Echo Tunes
 
In reflecting on the current state of the industry, I've noticed a troubling trend with reviewers and influencers. It appears that many reviews are more like industry-sponsored promotions rather than genuine evaluations. This lack of honesty undermines the integrity of reviews, making it increasingly difficult for consumers to trust them. The situation seems to be worsening with the rise of online influencers and YouTube reviewers, whose content often feels swayed by commercial interests.

Hidden agendas seem to play a significant role. Some reviewers appear to have personal ties with companies, which could compromise their impartiality. Others might be influenced by financial incentives, further clouding the credibility of their evaluations.

Sure, nowadays there are so many reviewers and review Web sites that there is an unevenness in coverage. Online influencers and youtube reviewers typically have no editors and thus no editorial or publishing guidelines -- I cannot speak to those. However, I find that you indiscriminately paint with too broad a brush and provide no examples to support what you say. Rather than offer suggestions to make things different you are soley negative.

As far as personal ties go, I interact with manufacturers in an effort to understand their product in order to insure what I write is technically correct and, if fortunate, to gather information not available elsewhere. Manufacturers get no say in sonic descriptions. I've written reviews of the Atma-Sphere products that you carry -- tell me if and how they are compromised. Unless no one in Indonesia reads audio review, as a dealer you receive benefit from them.

As far as financial incentives go, a reviewer receives payment for his review in order for a publisher to own the review product -- payment amounts are a pittance relative to the work done. Reviewers may receive industry accommodation pricing just as you receive as a dealer. Under publication that practice is heavily regulated and not hidden.
 
To where were they literally blown? Into the hallway?
Just saying....and after this, I will bow out of the conversation for now....

It could be that they were blown away into the performance. Gear and musical selection aside. Just sucked into the reproductive effort and immersed into the music. Audio bliss, in other words.

Tom
 
Sure, nowadays there are so many reviewers and review Web sites that there is an unevenness in coverage. Online influencers and youtube reviewers typically have no editors and thus no editorial or publishing guidelines -- I cannot speak to those. However, I find that you indiscriminately paint with too broad a brush and provide no examples to support what you say. Rather than offer suggestions to make things different you are soley negative.

As far as personal ties go, I interact with manufacturers in an effort to understand their product in order to insure what I write is technically correct and, if fortunate, to gather information not available elsewhere. Manufacturers get no say in sonic descriptions. I've written reviews of the Atma-Sphere products that you carry -- tell me if and how they are compromised. Unless no one in Indonesia reads audio review, as a dealer you receive benefit from them.

As far as financial incentives go, a reviewer receives payment for his review in order for a publisher to own the review product -- payment amounts are a pittance relative to the work done. Reviewers may receive industry accommodation pricing just as you receive as a dealer. Under publication that practice is heavily regulated and not hidden.

I want to clarify that my comments were not intended as a direct attack on anyone, but rather as a general observation on how many reviewers tend to operate. I apologize if my post came across as too personal. Thank you for sharing your perspective and for the work you do in providing detailed and informed reviews.

As a dealer, I encourage buyers to view reviews with a critical eye. Ultimately, the decision should rest with the buyer, who is making the purchase, rather than relying solely on a reviewer's personal opinion.

Not all reviewers adhere to the same ethical standards. While you may be as transparent as possible, this isn't true for everyone. It's well-known that hidden agendas can influence reviews. Although there are some honest reviewers, many don't follow the same principles. We've often seen situations where, when a reviewer is candid about a product, manufacturers may try to undermine them.

My post isn't meant to cast reviewers in a negative light; it's simply highlighting the actions and behaviors of some. I can't speak for all reviewers, as there are a few I trust as well.
 
In Indonesia, many audiophiles treat reviewers' opinions as the ultimate authority, and those who have followed this path often end up regretting it. This can leave them with highly praised but underperforming gear, purchased solely based on reviews. While some have learned from this experience, others have not. I always advise my buyers not to rely solely on my opinion or that of reviewers, but to trust their own ears.

Many audiophiles have broken free from the cycle of placing complete trust in reviewers. Ultimately, we all hear differently.

My approach is quite different; I don't choose products just because they're highly praised in the industry for easy sales. Instead, I personally select each product based on its sound quality, emotional impact, and value in the high-end market.

This approach doesn't necessarily result in higher sales.
 

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