I'd also like to pile it on when it comes to the quality of recordings.

I find myself disagreeing with a lot of the stuff that is positioned as
a super high recording standard out there.

A lot of those are very sterile sounding, and rarely feature top artists
and ensembles in a really inspired performance. It sounds sharp, but is
"meh" artisitically, imho.

Then there's the stuff everybody thinks every audiophile must cream his
pants all over to be credible. Cliche stuff like Daft Punk's Random
Access Memories. To me it's like "There's barely a single acoustic
instrument reference point here, and they mixed this with musicians
laying down their particular track all over the world and artificially
mixing it together." If I hear anyone babbling about Nile Rodgers'
"amazing dynamics" I'll crush their skull with an oversized wrench.
Really.

Is it odd some of my favorite recordings are 1960s tracks like Bill
Evans' "Waltz for Debbie" or the Coltrane/Hartman album? There's also
stuff like Kevin Mahogany's Enja albums, you can tell they were all
*Present* in the performance, not listening to stuff on headphones by
themselves while laying down their paid for track.

And that is when the recording is good. I agree the majority of music is
at best very indifferently recorded.



...pablo
Server: Virtual Machine (on VMware Workstation) running Ubuntu 18.04 +
LMS 7.9.1
System: SB Touch --optical->- Benchmark DAC2HGC --AnalysisPlus Oval
Copper XLR->- NAD M22 Power Amp --AnalysisPlus Black Mesh Oval->- KEF
Reference 1
Other Rooms: 2x SB Boom; 1x SB Radio; 1x SB Classic-> NAD D7050 -> Totem
DreamCatcher + Velodyne Minivee Sub
Computer audio: workstation --USB->- audioengine D1 -> Grado RS1/Shure
1540
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