I am very happy listening to my permanent collection and selecting from my new arrivals (1100 Japanese mostly jazz lps, 7500+ classical CDs and 8,000 mixed LPs) of 61,100 CDs/LPs/78s. I am thrilled that I can hear nuances heretofore unheard, dynamics and tonal colors of voices and instruments more akin to live performances (I have recorded 150 to 200 orchestral/chamber/choral music for performers and myself which include major venues, composer recording archivist, mastering engineer for the Zeisl centennial 2005, etc). I love music and really appreciate my collection more everyday. So it's not SOTA. It's really good though. My speakers were SOTA in 2016 though. My friends and acquaintances are famous and second tier mastering engineers. My best friends are all into various types of music performing and listening. Our hobby is no different than so many others. We get hands on use of it more frequently than mere collectors and other hobbyistshey Leo.....was just messing with ya on a particularly bad day. My attitude about high end audio these days is that companies are now building $38,000 DACs, etc, only because they can and they know someone (like me?) might buy them. I've spent well over 6-figures (times 3x!!!) on my system, yet there are days when I'm still researching how to incrementally improve certain sonic characteristics that I've focused my attention to. The music already sounds great so what is the point? Furthermore, so much of what we focus on can NEVER be fixed because a large percentage of the sonic problems we hear are the result of unavoidable mis-matches between the gear used in the recording, mixing, and mastering processes, and the gear we assemble in our homes (regardless of brands and prices we may spend). This is the rabbit hole dilemma.....