Sorry Mike, IMO it s the last recording I would use to discuss formats. Enjoyable, but extremely tuned to analog recording, as most of the great Reference Recording recordings. I have the Tape Project tape, spectacular sound and enjoyable, but not my cup of tea. By far I prefer their chamber music recordings, although I am sure some of our members will find they have excessive pin point imaging ...
Why, oh why, does vinyl continue to blow away digital?
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Sorry Mike, IMO it s the last recording I would use to discuss formats. Enjoyable, but extremely tuned to analog recording, as most of the great Reference Recording recordings. I have the Tape Project tape, spectacular sound and enjoyable, but not my cup of tea. By far I prefer their chamber music recordings, although I am sure some of our members will find they have excessive pin point imaging ...
No , it is a factual point that I have referred before. Vinyl is technically and subjectively very different from each other and even mastering should be carried differently for each format. I don't expect that designers who tune equipment with vinyl to optimize it for modern digital recordings.
The preferences of the designer show in their products.
These are great recordings, but if you want challenging recordings (and like such type of music) get recent performances from Harmonia Mundi or Aliavox - they will show you what top digital can get.
Amp, speaker, designer. He is being polite so far and not blaming the listener.
I had not heard the claim that designers voice their products to sound a certain way, depending on their preference for digital or analog. I I wonder what design decisions are made to favor one format over another.
to be very clear, micro has not heard my speakers. he has heard the MM3, designed 7 years prior to mine which have a completely different crossover and a different approach to bass with an added separate driver compliment and crossover points.
i will leave it at that.
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he has gone down that road a few times....when i don't fall in line with his biases.
Tell you what, side with him, he will find a way to contradict you and will turn pro analog.
I do believe most of us can enjoy digital, but just prefer analog. I almost always own one or more digital version of the recordings i listen to, i just rarely prefer them to vinyl.
my speaker designer has never had analog in his system. he is a professional horn player and is active in the San Diego area playing often.
my speaker designer also designed the Von Schweikert VR7SE, VR9SE and VR11, as well as the Evolution Acoustics line.
My speakers just shut of occasionally with digital lol , they refuse to play any further ,....Strike.
I ve got to put at least 1 or 2 tapes on to get them going again
I ve got to put at least 1 or 2 tapes on to get them going again
Do you think that is a speaker designed for a digital source? I’m curious about what that might mean.
That’s interesting Mike. Has he ever indicated to you that he designs his speakers to sound optimal with digital sources? What would that even mean? Surely he is aware that some of his clients have turntables.
Those who have personally witnessed the technical performance of the very best analog playback currently available will tell you otherwise.
Well Peter, if we are not curious and do not read anything outside WBF we should not expect it. Some high-end magazines have interviewed designers - the challenges imposed by hirez digital on equipment were sometimes referred and addressed. I remember reading some comments about it from AvantGarde designers. The excellent https://highfidelity.pl/ audio site often has interviews with high-end designers.
Please nominate them and where we can read from them - we will be happy to read it.
do i think that Micro's postulation holds any water? my opinion is zero. but it's an unknowable thing for any speaker designer outside of their own personal knowledge.
i have had limited exposure to Kevin's design process. he is a measurer, and uses software for his work. as well as hifi source listening, and his live music references. he also has a 'committee' of local San Diego area listening/musician friends he uses to give him feedback. so the digital source is only one part of the tools he uses but could not say how significant it was.
likely Micro hears speakers with less or more high frequency energy and then deduces that more of that allows for it being more complimentary to digital clarity. bringing the music forward in perception. this is just a guess as to where this is coming from.
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