I really appreciated the comments that you made concerning the musical vacuum that one finds on so-called "audiophile records." Another audio publication (one that prides itself on not having any measurements in its reviews) published an article a few months ago with a list of sound spactaculars--that wasn't the name of the article, but you get the idea. These include loud drum records, the musically empty soundtrack from The Thin Red Line, some of Villa Lobos' worst music, etc. etc. I cannot understand why anyone would want to use fine equipment to play musical trash. There is so much wonderful music out there, with sound quality ranging from wax cylinder to hi-rez--that's what our audio equipment is intended to let us hear at its best.
Your comments about pomposity in audio-writing were also apt. Some audio writers are absolutely convinced by their own opinions, as if Newton came along and invented some new laws of physics. Many also magnify tweaks of minor benefit as if a new galaxy had been discovered.
I really appreciated the comments that you made concerning the musical vacuum that one finds on so-called "audiophile records." Another audio publication (one that prides itself on not having any measurements in its reviews) published an article a few months ago with a list of sound spactaculars--that wasn't the name of the article, but you get the idea. These include loud drum records, the musically empty soundtrack from The Thin Red Line, some of Villa Lobos' worst music, etc. etc. I cannot understand why anyone would want to use fine equipment to play musical trash. There is so much wonderful music out there, with sound quality ranging from wax cylinder to hi-rez--that's what our audio equipment is intended to let us hear at its best.
Your comments about pomposity in audio-writing were also apt. Some audio writers are absolutely convinced by their own opinions, as if Newton came along and invented some new laws of physics. Many also magnify tweaks of minor benefit as if a new galaxy had been discovered.