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 there's no stopping us now

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Michael Green
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PostSubject: there's no stopping us now   Mon Oct 30, 2017 5:00 am

As you read through the industry's journals you can see the revolution and revelations beginning to take place.



How long will it take for the method of tuning to make it's way into the high end audiophile norm? Who knows, but it's coming!

There has never been such a long testing of the waters over something music, in high end audio, than the introduction of tuning. At times it almost looks painful for those poor souls trying to take this leap. Maybe because high end has been painted as leaps and not steps, logical steps at that.

One part of this that has kept the high end audio listener in pause mode are the high end audio reviewers without a doubt. Back in the early 90's tuning was all the buzz and I couldn't book my system tuning flights fast enough. For 3 years straight I was on tuning call around the world and stayed on tour as much as I did back when I was doing Bowie, BEEGEEs, JT and countless other gigs. Even then, I could see something was broken in the hobby of high end audio. It was something not broke with musical instruments, and not as broke with recording studios. It took me almost no time at all to figure out why, and once I saw it, it was like a lightening bolt had hit. High end audio didn't posses the same skill sets and tools as did musicians and studios. Or as far as that goes earlier playback listeners. High end audio for some bizarre reason slipped off into their own fantasy world that defied all logic. Even looking at musical instruments (with all their tuning) and studios (with all their adjustments) high end audio reviewers created and supported a world of make believe and sold it to the unsuspecting ear and they bought it (with major bucks) hook line and discrete componentry.

ONE SOUND FIXED SYSTEMS? Are you kidding me!

How did a world of variables become a world without reason? It was like waking up in the middle of a nightmare in the 90's to high end audio loosing their fricken minds. I can understand the search for purity, but doing one sound systems only provides purity for one recording, and a few other (at best) similar recording codes. Did the reviewer's brain somehow stop working? At the last audio show we did, this was indeed in question. As we watched reviewer after reviewer come into our tunable system show room, not one of them asked to have the recording tuned "NOT ONE". personal note "MG scratches head". I can remember shows where I tuned with Guy Lemcoe, Les Linton, Tom Miiller, J. Gordon Holt, Harry Pearson and the list lines up out the door. How is it possible that not one reviewer asked to tune in todays showings? This hobby has certainly taken a twist from the days of tuning in your recordings. I do want to make one exception btw, Jeff from TONEAudio and I have talked about tuning. Where the other souls are I have no idea! Well now wait, Steven (enjoy the music) and I have talked too, and I might have missed a couple more (sorry). OK, you get my point, where is our hobby? If 20 years ago tuning was the accepted norm among serious listeners or at least the beginning of common practice, what happened?

now I may have missed something

Somewhere along the music scene did tuning stop to be the tool of referencing music? Everyone I see at music center is tuning, and all the studios I visit tune. Music schools tune and so do concert halls. Are we saying that the one sound high end audio systems since the 90's on, have somehow magically been able to self tune to the different recorded codes produced? I mean we do agree all recordings have different recorded codes right? Is that the truth we lost in our teaching. Or is it that audio is not vibration? What I'm asking is how and why did the high end audio world end up at "one sound systems"? If you say discrete designing I'm going to boot you in the wide butt of yours! Discrete componentry my friends takes you further away from variable recordings not closer to. The more discrete your design gets the fewer recordings you are able to play successfully. Recordings are not and haven't been and never will be one size fits all, that's not the way recording nor playing music works. Every note on the planet played is an unique set of values and remains unique through the entire audio process. Discrete means you can play that one set of fixed variables over and over again and not deviate from the discrete setting. This is why every sound system sounds different with each piece of music that is recorded.

my high end audio friends I'm not trying to be cruel or come across like I have all the answers

Record: convert (sound or a performance) into permanent form for later reproduction

I question that the "experts" mostly reviewers or reviewees have taken the time to break down how recording works or maybe they don't know themselves. What I do know, and is very clear, that they don't understand the variables if they are only reviewing discrete "one sound" systems. I also know this is why high end audio is such a limited market. When you have hundreds of opinionated (mostly male) egos shouting they have the perfect sound each month, you should be aware that they are probably going through the very same "different newest effect" that every compulsive listener goes through, only difference is they know how to write, and get sent to them a lot more equipment to write about. Do writers for example tell you or even know that every recording ever made is made up of an unique coding, that is only replay-able (in full) by matching to the original coding? Nope, your not going to hear this truth broking down by print because it takes too much time and advertising, and sales need to be made, to a very limited market base. There, I said it!

Don't read or take this as some evil wish I have on reviewers, or designers, or any other listeners. It's just that taking the time or refusing to test the waters of tuning is so very long over due for most of the high end audiophile world, that it's almost too late for the more elderly of the hobby. There's a chapter of listening that has been sitting there to explore and for the most part of 20 or more years, the changing of the guard from Harry & Gordon didn't really advance, if anything it went backward (excepting a few). Will we catch up? Sure! But, there are some paradigms that will have to change and some old fogie myths to fade away. For now, I'm going to be speaking more boldly and maybe more direct to the industry. I have no doubt some will stay on their current course until their audio closets burst at the seams or audiogon and audio mart overload. The wise listeners though are making their moves to a more listenable hobby full of surprises and the rediscovery of their music collections.

yep, I'm with these folks

Since the first day I stepped into high end audio I knew my mission was clear. I said to myself "these are some strong egos and very dug in", but I also knew as the dead end high end audio practices, designs and theories started to unfrazzle the listeners themselves would provide the answers through their own empirical doing, proving that talk really is cheap and practice does make perfect.

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