Originally Posted by Gizmologist
The really funny thing about the back and forth and the audiophile concepts of sonic purity and all the other verbal picture painting is that the front end of the system that RECORDS all the material you listen to is such a massive lop-de-loop of gain, volume, frequency shelving, delays, autotune, choral effects, cheap direct boxes, miles of off the shelf cabling, patch panels, A/D converters, effects, etc and somehow all that gets completely forgotten in amplifier debates.
While that is true in many cases, it is not in all. First, there are a ton of audiophile recordings that are not digital and not cooked as you say.
Second, some recording engineers do cater to similar things we are discussing here:http://www.mitcables.com/reference-l...timonials.html
" ...Bruce Brisson and MIT cable technology. Bruce worked with our engineers to arrive at a line and speaker level wire system that allowed us to minimize phase errors through the system. The resulting clarity has been a pleasure to all that use that room."
Director of Engineering , Skywalker Sound"http://www.avguide.com/blog/the-best...rhaps-anywhere
"when I visited one of the studios of Paul Stubblebine Mastering and Michael Romanowski Mastering and was treated to perhaps the best system I've heard anywhere.
From there the signal went into ultra-modified Meyer parametric filter sets to the prodigious VTL Siegfried Reference Monoblocks, connected by Siltech Emperor Crown speaker cables to the majestic Focal Grande Utopia EM loudspeakers. MIT interconnects
and power centers were also used quite effectively."http://www.transparentcable.com/news...teway_news.pdf
"Gateway Mastering Studio Upgrades Include Transparent
In June 2003, Gateway Mastering and DVD completed
a major renovation of Bob Ludwig's mastering
studio. This state of the art facility opened in 1993.
The centerpiece of the upgrades is a custom
designed analog 8-channel mastering console and
insert switcher from SPL. To handle new high resolution
digital formats like DVD-A and SACD,
Gateway Mastering also added a brand new digital
routing and storage system. The new components
required thousands of feet of additional cable.
When we built the studio in 1993, we used the
best cables from Transparent, but over the years
they have made some significant improvements. In
2000, I got their new OPUS MM cables and was
completely blown away! Since that day, I've wanted
to upgrade the rest of my cables to Transparent MM
Technology, said Bob Ludwig about the renovation
"Profile of Excellence: Michael Bishop, Five/Four Productions
Michael Bishop is a Recording Engineer and Producer for Five/Four Productions, the former Chief Recording Engineer for Telarc Records, a multiple Grammy Award winner, and long time MIT Cables user. Over the past 30 plus years, Michael has worked with some of the world's finest recording artists including Dizzy Gillespie, Ray Charles, Bonnie Raitt, Liza Minelli, Rosemary Clooney, Carlos Santana, Dave Brubeck, Diana Krall, and scores of others.
Michael has been interfacing with MIT Cables products for many years. Speaking of one of his recent projects during which he utilized seven pairs of Oracle MA-X Rev.2 Interconnects, Michael wrote:
Dear MIT Cables,
I had the chance to use the new Oracle MA-X Rev. 2 Interconnects in-session at my latest sessions with jazz pianist Hiromi, bassist Anthony Jackson, and drummer Simon Phillips. The session took place at Water Music Recorders in Hoboken, NJ. The release is titled, "Voice" and will be on Telarc with a June 2011 US release. I believe the CD will be released February 2011 in Japan.
I employed the Oracle Interconnects at every critical signal junction, but particularly between microphones and preamplifiers. I also employed the Oracle Interconnects in the subsequent mix session for the same project, this time at the new Clonick Hall Studio of Oberlin Conservatory of Music.
The Oracle interconnects made a significant contribution to the outstanding audio results we achieved on these sessions - once again!!!"
"Professor" Johnson won the well deserved Grammy award this year for his wonderful recordings. He is the designer behind Spectral high-end audio equipment:
I know Keith personally. I am telling, he knows analog like there is no tomorrow.
And last but not least, our very own Bruce Brown who does a ton of work for companies offering high-resolution digital downloads from digitizing tapes to SACDs:http://pugetsoundstudios.com/
[The text is an image so I have to post the whole thing]http://mixonline.com/recording/maste...ering_studios/
"The house is on Cougar Mountain, just outside of Seattle, and Brown says his is the only studio in Washington state that can record, edit and master multichannel DSD/DXD material. The post room features a Pro Tools HD4 Accel system and the first Neve Masterpiece II from Legendary Audio.
Cobaltt Mastering owner/chief engineer Bruce MaddocksPhoto: David Goggin
The mastering room centers around a Pyramix DSD workstation with EMM Labs converters; monitoring is via Wilson Audio WATT/Puppy speakers.
This has been a dream of mine bringing the Pacific Northwest a mastering room it can be proud of.
This is why I say if you want to provide proof of inaudibility between equipment, it better be true for all people, all equipment and all content. 'cause otherwise, your claim doesn't apply to all people, all equipment and all content
We are not talking about what mass market hears who might predominantly buy the content produced as you say. We are talking about people who really love music, and spend more time researching well recorded music than the gear. They buy records that go for $400. Tapes that go for even more.
What you say, does apply to average Joe. For them, none of this matters. They should shop based on features and be done with it. But that is not the group we are talking about here. The group who buys an audiophile grade am is likely very anal about where his music came from.
The analogy here is you saying that you always drive in traffic so I should not get a quiet highway car even though that is the road to my workplace.
In addition, even if someone designed an amp that was as purely transparent as physics will allow and the gain is as linear as possible, once the speaker is connected to the amp all bets are off.
Let's hope the amp designer did measure the amp with a real speaker or two.
he room acoustics as well as all the environmental variables for a given listening location are also just as important.
Very true. Ironically in this conversation that area gets far more attention from audiphiles than not. My partner in crime in the other forum spent $30K on acoustics of his (large) room. One of the most talked about topics on WBF is acoustics. We have almost every acoustic expert in US either posting frequently or some of the time. Art Noxon and Todd Welti have permanent forums dedicated to them.
It is the casual music listener who forgets such things. Not the people who are intensely in the hobby.
At the most, all that can be achieved is an AVERAGE of performance at a given point in time and that will change with the listening environment.
I think that is a too pessimistic view. We can do better with a better system. No, it will not fee like we are in a live venue. But we can do better than not.