The Noob Linearity factor

I'll start with Ked is a total dick to me. I think the nomenclature is definitely meant to have a negative connotation since it starts with slang - it is amusing but not great for actual conversation. There is no video game on earth where "noob" is consider a positive description - and it comes from them.

But I do actually think he's right that many people trend towards "more of the same". It happens on the design of audio equipment as well. There are countless presumptions about what makes what sound, and rarely does anyone challenge them. But I don't specifically think SETs are the answer to everything, especially since many sound like smooth mud. The same goes for horns, they just are not all good. Good is good. JBL fits the very definition of what Ked is against but I don't think he's going to say all the legendary models are bad, as a lot of tube/vinyl/Asian/eccentric enthusiasts in the relative camp he's in, love them because they don't sound like their basic stats of being large and ported etc.

Overall there are a LOT of audiophiles that just have unexplored depths of possibilities. And part of that is not all gear can get them there - and digital is tentative if at all currently.
And those people who have explored little can have very strong opinions they share publicly like the know more than everyone else. Years back when I was first introduced to audio forums and posting on Audionirvana, I made a thread, should people who have never heard something, post opinions about it. I found it annoying. I still see it all the tie on Audiogon forms
 
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And those people who have explored little can have very strong opinions they share publicly like the know more than everyone else. Years back when I was first introduced to audio forums and posting on Audionirvana, I made a thread, should people who have never heard something, post opinions about it. I found it annoying. I still see it all the tie on Audiogon forms

Rex, I have explored little and can have strong opinions that I share publicly here. However, I realize full well that I do not know more than everyone else.

In your opinion, are there many of the people you describe here at WBF?
 
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One hopes that most of the threads on the WBF are informative. Although it is not their intent to reveal such lofty secrets as the true meaning of life, one hopes they provoke some clarity and if one gets lucky perhaps some entertainment as well. However, when a thread begin by stating a premise that is infused with an insurmountable bias, my tendency is to shrug my shoulders and move on. It was hard to read the OP and understand the rationale for the hypothesis that many/most/all listeners in Ked’s experience have an inherent imprint bias for their audio gear that is rooted in their continued quest for bigger, better, taller box speakers with which then governs their lifelong purchases. Moreover, the reader is then subjected to beratement for not having the wherewithal and good sense to pursue the many alternative paths of transducer and amplifier design that the OP considers a more enlightened approach to audio nirvana.

I guess the question I would rise first is why the obvious bias of the OP makes for an effective argument at all? I’m not sure what anyone’s purpose of acquiring a good audio reproduction system is, but if one believes it is to reproduce orchestral music realistically in a home environment, I suggest that is an unproductive and impossible task at the outset. I don’t know about you, but my system has one purpose and one purpose only, which is namely to enjoy listening to music at home. All kinds of music. From a single instrument or voice to orchestral tuttis. Nobody gives a rats’ ass about anyone’s journey including mine, but I’ve traversed planars, electrostats and cone drivers, both in and out of boxes. Since I began with speakers that were over 6 feet tall and 4 feet wide (Magneplanar IU circa 1973) and now have speakers that are shorter are far narrower, I’m not sure I’m a poster child for obeying to the bigger is better approach that Ked eschews, but I’m probably not too far from it either since I have some hefty JL Audio Gotham subs that augment my Alexx V (from Ked’s favorite speaker manufacturer). But one thing I can say with certainty is that I have stayed far away from horns and SETs (not explicitly stated as Ked’s prefs but c’mon man, we understand where you’re coming from) for a very good reason. Which is namely this. I have not heard a full range horn system to date that I find as enjoyable as several alternatives for home reproduction. The reasons are three-fold.

First, we should understand why horns are so popular in certain parts of the world for home reproduction. (We’re not talking about theater systems of sound reinforcement which is aa totally different kettle of fish). In Japan, most homes are very narrow (but long) due to fact that property taxes have been based historically on the width of the home (and not square footage). This obviously severely limits the size of speakers most audiophiles can accommodate. In the EU, many flats, apartments or private homes are also not conducive to massive, large speakers or the boat anchor sized amplifiers needed to drive them to realistic SPLs. Thus, horn speaker were and still are often the best path for practical affordable home listening. Using horns in many environments only requires one more prerequisite which was best said by Paul Klipsch when he advocated that what the world really needed was not a huge expensive speaker, but a good 2-watt amplifier. For many listers, a good efficient horn with a. modestly powered amplifier satisfies their listening needs very nicely. I respect that.

So allow me to suggest why I have zero interest in pursuing horns in any way, shape or form. Simply put, the bass reproduction for any horn system is simply unacceptable to me sonically. You can jump up and down and tell me that’s not the case, but that argument does not move me at all simply because I have never heard a proper horn speaker do bass exceptionally well. And its not like I haven’t tried over the past serval decades to hear it otherwise. Passable bass? Yes. But very well? No. Keep in mind that these same folks tell me I should listen to the Avantgarde G3 Trio with their super subwoofer horns, as if this is a valid solution for the dreaded “bigger and better” imprinting from which you think young audiophiles suffer? Do you advocate that seeking bigger and better is only OK if you pursue bigger and better with horns, not cones? But focus on SQ not size. Yes, sound from 25 (20?) to 40 Hz will come out of many horn drivers. But there is no way on god’s green earth that they can do this with the speed, timbre, extension, precision, definition, and control of today’s best cone drivers with the requisite amplification. Think about it. Why is it that even the best horn systems used for sound reinforcement always rely on cone drivers for bass reproduction? Bass reproduction from horns are colored and is a light year away from arriving with the same high performance transient and decay characteristics as the sound a good horn can deliver in the midrange, at least in every horn system I have heard. Yeah, yeah, I must not be listening to the right horns. Well, then show me. I will get to listen to the Avantgarde Trio G3 w subs in a few months (hope springs eternal), but still, it seems one has to aspire to yet “bigger and better” to still get there even with horns, no? In the interim, horns are simply not a SOA speaker system for bottom end. Period. They are always truncated in low frequency performance, and slow by comparison, even when driven by those mighty flea sized amplifiers. You know, the ones with a massively large damping factor (Ha!)

Combine that with my perception that many horns have intrinsic colorations in comparison to today’s best cones, planars and electrostats, and that’s reason number 2 why they are not on my list of speakers to aspire to owning. Third, they are generally devoid of top end extension which is important for me in that I think that attribute is what allows for the accurate capturing of the air/ambience and “penumbra” of the instruments in the hall. (The current fad, particularly in Asia, seems to be to a add high frequency drivers such as Heil AMTs to many horn speakers, which tells me a lot). And the OP believes it’s because of imprinting as a young audiophile when the forces of the universe somehow colluded with me into believing that bigger speakers are better, or that cost and prestige is what formed my audio aspirations? This is especially worth pointing out as an egregious hypothesis since I am a well-known cheapskate who comes from the Karmeli/Choi school of cables and wires (and accessories) which plainly suggests that spending big money there is just stupid. An alternative explanation, which is far more understandable in what has truly driven my adult audio pursuits is simply the fact that I attend a lot of music concerts. Listening to live music is what makes me a better, more discriminating listener at home and shapes my audio purchases more than any other factor. Not some gobbly gook pre-ordained high end audio imprinting that has somehow led me astray on the road to audiophile hell from which there is no return.

To be clear, I’m not saying there are not good horn speakers out there, but only that I’d never consider owning any based on what I have heard due to their full range limitations. And that makes them unacceptable for enjoyable home music reproduction, for me.

Why not suggest that people who seek better audio systems at home just stop buying better gear since everyone knows that the most important prerequisite to obtaining great bass response is the room. How many people can accommodate their desire for that? Most cannot and know it. Yet you genuinely believe that their imprinting for bigger and better speakers and not seeking a better room occurs early in their audiophile career and that is their Waterloo?

Feel free to pin names on my approach to seeking improvement for my home music reproduction if you wish, but in general I find the argument terribly misguided and irrelevant to my approach to better listening. But Jeez, this became a 10 page thread in a matter of days so the WBF advertisers should at least send you a Christmas card for that this December!
 
One hopes that most of the threads on the WBF are informative. Although it is not their intent to reveal such lofty secrets as the true meaning of life, one hopes they provoke some clarity and if one gets lucky perhaps some entertainment as well. However, when a thread begin by stating a premise that is infused with an insurmountable bias, my tendency is to shrug my shoulders and move on. It was hard to read the OP and understand the rationale for the hypothesis that many/most/all listeners in Ked’s experience have an inherent imprint bias for their audio gear that is rooted in their continued quest for bigger, better, taller box speakers with which then governs their lifelong purchases. Moreover, the reader is then subjected to beratement for not having the wherewithal and good sense to pursue the many alternative paths of transducer and amplifier design that the OP considers a more enlightened approach to audio nirvana.

I guess the question I would rise first is why the obvious bias of the OP makes for an effective argument at all? I’m not sure what anyone’s purpose of acquiring a good audio reproduction system is, but if one believes it is to reproduce orchestral music realistically in a home environment, I suggest that is an unproductive and impossible task at the outset. I don’t know about you, but my system has one purpose and one purpose only, which is namely to enjoy listening to music at home. All kinds of music. From a single instrument or voice to orchestral tuttis. Nobody gives a rats’ ass about anyone’s journey including mine, but I’ve traversed planars, electrostats and cone drivers, both in and out of boxes. Since I began with speakers that were over 6 feet tall and 4 feet wide (Magneplanar IU circa 1973) and now have speakers that are shorter are far narrower, I’m not sure I’m a poster child for obeying to the bigger is better approach that Ked eschews, but I’m probably not too far from it either since I have some hefty JL Audio Gotham subs that augment my Alexx V (from Ked’s favorite speaker manufacturer). But one thing I can say with certainty is that I have stayed far away from horns and SETs (not explicitly stated as Ked’s prefs but c’mon man, we understand where you’re coming from) for a very good reason. Which is namely this. I have not heard a full range horn system to date that I find as enjoyable as several alternatives for home reproduction. The reasons are three-fold.

First, we should understand why horns are so popular in certain parts of the world for home reproduction. (We’re not talking about theater systems of sound reinforcement which is aa totally different kettle of fish). In Japan, most homes are very narrow (but long) due to fact that property taxes have been based historically on the width of the home (and not square footage). This obviously severely limits the size of speakers most audiophiles can accommodate. In the EU, many flats, apartments or private homes are also not conducive to massive, large speakers or the boat anchor sized amplifiers needed to drive them to realistic SPLs. Thus, horn speaker were and still are often the best path for practical affordable home listening. Using horns in many environments only requires one more prerequisite which was best said by Paul Klipsch when he advocated that what the world really needed was not a huge expensive speaker, but a good 2-watt amplifier. For many listers, a good efficient horn with a. modestly powered amplifier satisfies their listening needs very nicely. I respect that.

So allow me to suggest why I have zero interest in pursuing horns in any way, shape or form. Simply put, the bass reproduction for any horn system is simply unacceptable to me sonically. You can jump up and down and tell me that’s not the case, but that argument does not move me at all simply because I have never heard a proper horn speaker do bass exceptionally well. And its not like I haven’t tried over the past serval decades to hear it otherwise. Passable bass? Yes. But very well? No. Keep in mind that these same folks tell me I should listen to the Avantgarde G3 Trio with their super subwoofer horns, as if this is a valid solution for the dreaded “bigger and better” imprinting from which you think young audiophiles suffer? Do you advocate that seeking bigger and better is only OK if you pursue bigger and better with horns, not cones? But focus on SQ not size. Yes, sound from 25 (20?) to 40 Hz will come out of many horn drivers. But there is no way on god’s green earth that they can do this with the speed, timbre, extension, precision, definition, and control of today’s best cone drivers with the requisite amplification. Think about it. Why is it that even the best horn systems used for sound reinforcement always rely on cone drivers for bass reproduction? Bass reproduction from horns are colored and is a light year away from arriving with the same high performance transient and decay characteristics as the sound a good horn can deliver in the midrange, at least in every horn system I have heard. Yeah, yeah, I must not be listening to the right horns. Well, then show me. I will get to listen to the Avantgarde Trio G3 w subs in a few months (hope springs eternal), but still, it seems one has to aspire to yet “bigger and better” to still get there even with horns, no? In the interim, horns are simply not a SOA speaker system for bottom end. Period. They are always truncated in low frequency performance, and slow by comparison, even when driven by those mighty flea sized amplifiers. You know, the ones with a massively large damping factor (Ha!)

Combine that with my perception that many horns have intrinsic colorations in comparison to today’s best cones, planars and electrostats, and that’s reason number 2 why they are not on my list of speakers to aspire to owning. Third, they are generally devoid of top end extension which is important for me in that I think that attribute is what allows for the accurate capturing of the air/ambience and “penumbra” of the instruments in the hall. (The current fad, particularly in Asia, seems to be to a add high frequency drivers such as Heil AMTs to many horn speakers, which tells me a lot). And the OP believes it’s because of imprinting as a young audiophile when the forces of the universe somehow colluded with me into believing that bigger speakers are better, or that cost and prestige is what formed my audio aspirations? This is especially worth pointing out as an egregious hypothesis since I am a well-known cheapskate who comes from the Karmeli/Choi school of cables and wires (and accessories) which plainly suggests that spending big money there is just stupid. An alternative explanation, which is far more understandable in what has truly driven my adult audio pursuits is simply the fact that I attend a lot of music concerts. Listening to live music is what makes me a better, more discriminating listener at home and shapes my audio purchases more than any other factor. Not some gobbly gook pre-ordained high end audio imprinting that has somehow led me astray on the road to audiophile hell from which there is no return.

To be clear, I’m not saying there are not good horn speakers out there, but only that I’d never consider owning any based on what I have heard due to their full range limitations. And that makes them unacceptable for enjoyable home music reproduction, for me.

Why not suggest that people who seek better audio systems at home just stop buying better gear since everyone knows that the most important prerequisite to obtaining great bass response is the room. How many people can accommodate their desire for that? Most cannot and know it. Yet you genuinely believe that their imprinting for bigger and better speakers and not seeking a better room occurs early in their audiophile career and that is their Waterloo?

Feel free to pin names on my approach to seeking improvement for my home music reproduction if you wish, but in general I find the argument terribly misguided and irrelevant to my approach to better listening. But Jeez, this became a 10 page thread in a matter of days so the WBF advertisers should at least send you a Christmas card for that this December!

Marty,

Regardless if all that you wrote will be agreed with or not:
Best, most interesting post of the entire thread!

Al
 
I don’t know about you, but my system has one purpose and one purpose only, which is namely to enjoy listening to music at home. All kinds of music

Amen to that!
 
that the OP considers a more enlightened approach to audio nirvana.

That's how OPs often work, unless the OP is asking a question such as which 100k component should I buy

But one thing I can say with certainty is that I have stayed far away from horns and SETs (not explicitly stated as Ked’s prefs but c’mon man, we understand where you’re coming from) for a very good reason. Which is namely this. I have not heard a full range horn system to date that I find as enjoyable as several alternatives for home reproduction. The reasons are three-fold

I would state two - fold: You have heard two horns, one with me, which we both did not like. I am sure you would have heard some like trios at shows. |regarding the bass reflex horns, those are compromises, either on budget, or size or both. Definitely not what I would pay more than 5k for.

Well - third fold could be that all your speakers listed are big. So maybe try something small, like Devore O96 with NAF 2a3.

First, we should understand why horns are so popular in certain parts of the world for home reproduction. (We’re not talking about theater systems of sound reinforcement which is aa totally different kettle of fish). In Japan, most homes are very narrow (but long) due to fact that property taxes have been based historically on the width of the home (and not square footage). This obviously severely limits the size of speakers most audiophiles can accommodate. In the EU, many flats, apartments or private homes are also not conducive to massive, large speakers or the boat anchor sized amplifiers needed to drive them to realistic SPLs. Thus, horn speaker were and still are often the best path for practical affordable home listening. Using horns in many environments only requires one more prerequisite which was best said by Paul Klipsch when he advocated that what the world really needed was not a huge expensive speaker, but a good 2-watt amplifier. For many listers, a good efficient horn with a. modestly powered amplifier satisfies their listening needs very nicely. I respect that.

So allow me to suggest why I have zero interest in pursuing horns in any way, shape or form. Simply put, the bass reproduction for any horn system is simply unacceptable to me sonically. You can jump up and down and tell me that’s not the case, but that argument does not move me at all simply because I have never heard a proper horn speaker do bass exceptionally well. And its not like I haven’t tried over the past serval decades to hear it otherwise. Passable bass? Yes. But very well? No. Keep in mind that these same folks tell me I should listen to the Avantgarde G3 Trio with their super subwoofer horns, as if this is a valid solution for the dreaded “bigger and better” imprinting from which you think young audiophiles suffer? Do you advocate that seeking bigger and better is only OK if you pursue bigger and better with horns, not cones? But focus on SQ not size. Yes, sound from 25 (20?) to 40 Hz will come out of many horn drivers. But there is no way on god’s green earth that they can do this with the speed, timbre, extension, precision, definition, and control of today’s best cone drivers with the requisite amplification. Think about it.
Sorry, this is pure speculation, para 1 and 2 don't follow.
 
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Regarding the trios, I suggested you listen to it because you have the Lampi Horizon, like subs, and it has Kondo. I have not heard it, I guess I will by the time you get there.

I have already suggested other systems that I have heard you could try in Europe.

Regarding eschewing big, that was never said. I interpreted this big small points many times in the thread.
 
Marty had to have spent hours at his kitchen computer to get all that out. Bravo.

Marty does touch on a point I have noticed, but I feel gets shouted down by the horn enthusiast.
Marty has great bass. My friend Marc (tofastdriving) has great bass - ALEXX and AR Ref 160. One of my very good friends Bob has great bass - Krell KSA250 and Focal. I have never heard a horn come anywhere close to the "TYPE" of bass these systems produce. It is an attribute of high power amps and ported box speakers that I hear time and time again. It creates a sound many people gravitate to it. My wife especially. She was a NYNY resident and went clubing a lot a young person. She loves bass.

I would be one of those posters who is telling you what something can and can not do without actually hearing it. I don't know if a horn can make bass like a high power amp and ported box speaker. What I can say is I have never heard it myself. I also have never been in a room with a well sorted horn system.

While there might be some things correct about horns that lends a very natural you are there sense, I can see many people still preferring what they have at home and having no desire to change. No matter how much horn goodness they hear.

Peter, I am not taking a shot at you at all. I think part of what might have lead you to a totally different topology is that you had your time with Pass Lab and I forgot your speaker. You did it, and did it well. From the psychology that I have read, fundamentally people desire change. They also need grounding. A place to call home. But we like change or life becomes stale. So its natural you could grasp what DDK showed you, fully engage with it and move to a new place. It does not mean where you went is any better than were you came from. Its just a different path with a different sound. And that sound works well for you now. Mike L may be at the same place. Who knows.
 
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but if one believes it is to reproduce orchestral music realistically in a home environment, I suggest that is an unproductive and impossible task at the outset.

I think this is the issue here. People think that recreating an orchestra requires length and breadth and width of the orchestra, and the frequency extensions of the orchestra, and that no matter what we do, it will not be enough. So, they keep extending on that line, more and more, hoping each extension at least brings them closer. If that is the strategy, it is true you will never get it, land on the above checklist, the Devore will always fail that XVX.

Therefore, the strategy to recreate an orchestra needs to change. If you try to fight Mike Tyson at boxing, you will never win, and if you just keep pushing the biggest guy on WBF in front of you, we will all get punched out.
 
Well - third fold could be that all your speakers listed are big. So maybe try something small, like Devore O96 with NAF 2a3.
You're on a roll. I think you've recommended the Devore 096 to Mike L as well. Hey, let's get a few more and go for a group discount. You in? Even when your current listening space turns into a nursery, there will still be room for the Devore's! You just put the crib on top of the speakers and you'll be all set!

Honestly Ked, we know that the best investment to obtain music enjoyment is not by buying any more equipment but by going to live concerts. Staying on that path is all that is needed. The rest is gravy.
 
Marty had to have spent hours at his kitchen computer to get all that out. Bravo.

Marty does touch on a point I have noticed, but I feel gets shouted down by the horn enthusiast.
Marty has great bass. My friend Marc (drivingtofast) has great bass - ALEXX and AR Ref 160. One of my very good friends Bob has great bass - Krell KSA250 and Focal. I have never heard a horn come anywhere close to the "TYPE" of bass these systems produce.
This is not bass. To listen to horn bass visit Leif for sub 40 to 15 bass. But the real musical weight, that is till 40, and where coherence is required from lower midrange till 40, visit any dual FLH. Cones with JL subs will sound wimpy on tympani or rock drums in front of a dual FLH.
 
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I think this is the issue here. People think that recreating an orchestra requires length and breadth and width of the orchestra, and the frequency extensions of the orchestra, and that no matter what we do, it will not be enough.

Therefore, the strategy to recreate an orchestra needs to change. If you try to fight Mike Tyson at boxing, you will never win, and if you just keep pushing the biggest guy on WBF in front of you, we will all get punched out.
Good points here but it would be helpful to suggest how to change some of these strategies for recreating an orchestra instead of emphasizing the negative aspects of noob linearity. Aside from gaining more experience by listening to more and varied systems what specific strategies would you recommend?

Matt
 
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Good points here but it would be helpful to suggest how to change some of these strategies for recreating an orchestra instead of emphasizing the negative aspects of noob linearity. Aside from gaining more experience by listening to more and varied systems what specific strategies would you recommend?

Matt



I keep mentioning the Devore NAF 2a3 because I heard it next to 60k Lansche. The Lansche are good speakers, nice midrange, much more weight and size than Devore. On the first track after you move from the Devore, you get wow that's weight. Second track you hear the same fart.

Go back to the Devore, each the you hear the concert. Your mind is not looking for frequencies, weights, anything. It is one coherent projection of what is there on the record, that changes when you change the record.

Now, this is no different to what Diesis did compared to Alsyvox or M9. Diesis is smaller than them.
Apart from that, both speakers do the orchestral swing and scaling from small to large better, this comes out of coherence and the efficiency, which gives them the headroom. Easily drivable on the swell. The majesty you hear with the orchestra is that it can grow large. It is not just a bunch of musicians spread out on the road making sounds, but they are going in sync and creating awe on the rise. Good recordings that have scale, when played coherently on a amp speaker combo that swells well, is the way to go. Dynamic range.

Sure, dual FLHs have that PLUS the driver size. But the driver need not be far apart from each other to give fake height. Height can be created by projecting using multicells of Altec, or by using open baffle like Diesis does. Ultimately I prefer 4 cell of Altec to the 5 cell, as 15 cell always sounds large while the 4 cell sounds more proportionate. I don't want fake height of gear as a constant, it reminds me there is no orchestral scale, it is a speaker 5 ft high and 7 ft apart (or something like that)

I will go further to say that with digital recordings, we often need intervention to create scale. Think Audio research, where Ref 10 will add much more than Ref 6 which will add much more than Ref 3 in terms of pumping up the soundstage. But if you have a good record, you don't need this. It will scale by playing through something more neutral, which unfortunately might sound flat on a flat recording.
 
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I keep mentioning the Devore NAF 2a3 because I heard it next to 60k Lansche. The Lansche are good speakers, nice midrange, much more weight and size than Devore. On the first track after you move from the Devore, you get wow that's weight. Second track you hear the same fart.

Go back to the Devore, each the you hear the concert. Your mind is not looking for frequencies, weights, anything. It is one coherent projection of what is there on the record, that changes when you change the record.

Now, this is no different to what Diesis did compared to Alsyvox or M9. Diesis is smaller than them.
Apart from that, both speakers do the orchestral swing and scaling from small to large better, this comes out of coherence and the efficiency, which gives them the headroom. Easily drivable on the swell. The majesty you hear with the orchestra is that it can grow large. It is not just a bunch of musicians spread out on the road making sounds, but they are going in sync and creating awe on the rise. Good recordings that have scale, when played coherently on a amp speaker combo that swells well, is the way to go. Dynamic range.

Sure, dual FLHs have that PLUS the driver size. But the driver need not be far apart from each other to give fake height. Height can be created by projecting using multicells of Altec, or by using open baffle like Diesis does. Ultimately I prefer 4 cell of Altec to the 5 cell, as 15 cell always sounds large while the 4 cell sounds more proportionate. I don't want fake height of gear as a constant, it reminds me there is no orchestral scale, it is a speaker 5 ft high and 7 ft apart (or something like that)

I will go further to say that with digital recordings, we often need intervention to create scale. Think Audio research, where Ref 10 will add much more than Ref 6 which will add much more than Ref 3 in terms of pumping up the soundstage. But if you have a good record, you don't need this. It will scale by playing through something more neutral, which unfortunately might sound flat on a flat recording.
Another very good point about the reproduction of orchestral swell and how this dynamic factor contributes greatly to the emotional impact and believability of the recording, and being a classical music lover it’s important to me though my system certainly won’t swell like a well sorted horn. But what about the “linear noob” with different musical tastes where those dynamic swells are less important to the musical genre. In that case his system priorities might be quite different, and his “linear noobery” might make perfect sense.

Matt
 
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You can go even cheaper than the Devore to get a real shock. The speaker it is based on + certain old receivers (tube) can be SHOCKING even with garbage turntable.
 
Another very good point about the reproduction of orchestral swell and how this dynamic factor contributes greatly to the emotional impact and believability of the recording, and being a classical music lover it’s important to me though my system certainly won’t swell like a well sorted horn. But what about the “linear noob” with different musical tastes where those dynamic swells are less important to the musical genre. In that case his system priorities might be quite different, and his “linear noobery” might make perfect sense.

Matt

Indeed, different priorities, tastes and preferences preclude a "best system approach" generally applicable to everyone.

There is no place for dogmatic absolutism.
 
Indeed, different priorities, tastes and preferences preclude a "best system approach" generally applicable to everyone.

There is no place for dogmatic absolutism.

that would be a good thread topic: various system building approaches. I’m not sure people follow different approaches, but certainly we can hear different results and very different sounds based on preference.
 
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that would be a good thread topic: various system building approaches. I’m not sure people follow different approaches, but certainly we can hear different results and very different sounds based on preference.
Hey, I have barked at times I feel some equipment is better suited for particular sorts of music and was shot down. I was told good gear should do everything equally well.:oops:
 
Hey, I have barked at times I feel some equipment is better suited for particular sorts of music and was shot down.

Of course, you are right, and it's true.

I was told good gear should do everything equally well.:oops:

Ideally, yes. But "everything equally well" is in the ear of the beholder. Everyone will judge that differently for themselves.
 

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