I think what we can enjoy and what sounds better are two different points. Whether vintage is better than modern for both is a third point. It is clear that vintage cannot be commercially available through a modern style distribution network so modding and customization are implicit
The Mysterious Case of the Listening Window! By Jeff Day, Positive Feedback
- Thread starter PeterA
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The man is spot on: a good set up is characterised by being able play (pretty much) everything well.
The caricature audiophile has a system thats so revealing that it shows that all but three recordings are rubbish.
Jesper
Foil caps are a "vintage" design, and still the best imo. Just not practical for larger values.
I'm not endorsing anything Francisco and personally wouldn't modify vintage speakers or buy one that is modified. It's not because that there isn't room for improvement but because there aren't many people out there competent enough to holistically improve the overall sound without butchering it. I don't have that knowledge either but if I could get Vladimir Lamm staying with me for a few months I'd consider modifying Bionor's crossovers
! Throwing in a few components here and there and getting something different is easy but that's not getting it right. Yes paid and unpaid endorsements by musicians isn't uncommon and I have no idea about Stokowski's comments about these pair of speakers but I have experience with VOTT and would describe them in a similar way. Jeff's linked article isn't about his speakers but the approach to a type of overall system sound and setup, I believe he's talking about "natural" sound.
david
Haha, well I am commissioning a bespoke stained glass window for the chapel, so maybe Lol.Aren’t you living in one of those olde houses with colored glass Marc ?
And its "ye olde house" cod Shakespeare speak.
So anyone who looks in from outside will see everything in color of the stain?
Milan, I wouldn't normally object, but this is WBF, and as a rule we're all expected to be precise on terminology. I mean, Dave is mentioning "natural"...good luck defining THAT.
I can't think of a single audiophile who wouldn't pride themselves on achieving a "natural" sound. I mean, hands up who believes their sound is "unnatural", or "less than natural"?
I can't think of a single audiophile who wouldn't pride themselves on achieving a "natural" sound. I mean, hands up who believes their sound is "unnatural", or "less than natural"?
Marc, natural is not a difficult term to define. You spent a year listening to many live music events. You should know what the term natural means.
I will raise my hand and openly declare that my system used to sound less natural than it does now. It’s obvious to me. It is easy for me to hear, and it is easy for me to admit.
I will also say that after a year of experimenting with set up my system now sounds more natural than it did before. That is, it sounds more like what I hear when I listen to live unamplified music. However, I also know that I have a long way to go. The important thing is that I have a new goal and direction to follow.
I do think this is what Jeff day is getting at with this article and why it resonates with me. (I also appreciate his choice of amplification). We will see when he continues this series of articles.
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It totally resonates with me too, Peter. You've de-tweaked a high resolution system to approach a natural horizon. I've gone down the quasi full range driver/high efficiency/zero xover direction, and optimised via ancilliaries to get a natural, relaxed sound. We've both succeeded in our own ways.
Are we just releasing the hounds in asking the question. Perhaps the question might more simply be when making a system change are we moving towards making the instruments sound more natural or less natural.
This may be a useful assessment strategy and could be combined with another simple question, does the system change make me more engaged in the music or less engaged.
More natural and more musically engaging are essential outcomes from my perspective.
Put it this way Graham, I am really struck by how much more natural the timbre of acoustic instruments is in my system now that acoustics, tt isolation/optimisation, spkrs setup/positioning, clean power and cables that help reveal tonal colour, are working their magic. My appreciation for my jazz lp collection in particular has been transformed, especially any albums with twin horns. I thought I was recognising sax and trumpet before. I really wasnt. Albums that were homogenous now really shine on timbral accuracy. My enjoyment of jazz has skyrocketed.
I find my system unnaturally natural, but only in the best natural meaning of the word.
Yeah, have a tough time thinking slide rule science and materials at the time haven’t improved dramatically. I’d love for @213Cobra to opine on this growing up through the golden age.
I love this concept of this 'listening window' and while I spent many years chasing the very best reproduction on the very best recordings, there is no question that the end result was 50 recordings in 'the window' but 3000 recordings out. I recall listening sessions with friends where, when they asked to hear recordings that were outside the window, I played them with dismay, and quickly went back to the magic 50.
I have consciously picked equipment over the last decade that takes advantage of and result in an expanding window, the Bayz Audio Courantes for example, and now there is nothing that I won't play, and when I do I look forward to the reproduction, even if I haven't heard it on my current system yet.
I have consciously picked equipment over the last decade that takes advantage of and result in an expanding window, the Bayz Audio Courantes for example, and now there is nothing that I won't play, and when I do I look forward to the reproduction, even if I haven't heard it on my current system yet.
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