A friend sent me a link to this video last night. I just finished watching it. I actually found this video a bit easier to follow along than some of his other videos. Perhaps it is the topic that interests me.
Romy is a funny guy, full of sarcasm. He says right near the beginning of the video when discussing "The Absolute Sound" approach: "Hello Michael Fremer. How are you doing?" That is too funny right after his previous video about reviewers. I find Romy's delivery a bit difficult to follow, but the content is very interesting. Within 24 hours of my posting on his website some comments about the MF video, Romy records this new video after reading the beginning of my system thread. He clearly has these thoughts in his mind and is able to articulate and to share them quickly, off the cuff. I find that very impressive.
Romy identifies and describes three approaches which I will try to summarize:
1. The Absolute Sound.
The first part of the video is a condemnation of the industry: the gear, the magazines, the reviewers. He describes this approach as an endless search for and promotion of sonic properties. The goal is to maximize these properties in the presentation. I kept thinking of the audiophile glossary of terms. He does not think this has anything to do with what one hears from live music. These properties are viewed as positives, and the more you can get, the better.
2. Neutrality/naturalness
This approach is viewing these properties as negative, because they are not heard in live music, and rejecting them. The more absent the properties are from the presentation, the better. One is left listening to the music and the emotions will follow. The problem with this approach, as I understand it, is that one is left with a system that may sound beautiful, but is not flexible, so it will allow an emotional connection to come through, but it can not be tailored to maximize different emotions for different music and performances. It is a passive approach.
3. Expressivity (His 3rd Way)
This third approach allows the listener to shape his own experience to maximize emotional involvement and enjoyment. I think Romy likes to experiment, play, and tinker. He is always searching and thinking for new ways. He is obsessed in a good way. Others have described their obsessions as a sickness. I get that and I respect it. I particularly appreciate that Romy thinks deeply about this, shares his approach and thinking, and actually experiments trying to improve his experience. This is a deep approach to the hobby.
Now, I think a lot of us think about the hobby and want to improve our systems. So in that sense, perhaps we all follow a bit of all three approaches. I disagree with Romy somewhat because people in all three approaches seem to want to shape or tailor their listening experience. This is done in the first two approaches through the careful selection of gear, and the setting up of the room and system, and finally by the music and recording choices they make. I am talking about active hobbyists. Certainly some audiophiles go and buy what they read about and have someone else set it up for them, and then they are satisfied and listen, not changing, exploring, or experimenting. That is a fine approach too.
Romy reminds me of Carlos269 here. Each takes a more active role in wanting to shape the presentation after the gear has been bought. Their approach is in choosing the gear for its flexibility. They seem to enjoy working to create a presentation that maximizes the emotion they are trying to get when listening. Their approach is more as an active participant. My approach is to try to closely resemble the listening experience I have when listening to live music. I do this by choosing specific gear and setting it up in a particular way.
What I find refreshing about Romy is his insatiable curiosity, and his willingness to share with anyone interested in listening. His approach is a bit different, both the videos, and in his listening room. I happen to think the hobby benefits from thinkers like him.
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