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There was a guy as one musical forum. His name is William Sommerwerck and for all intended purpose he is an idiot. He was posting more or less lucid comments about music but he also fancied himself as some kind of expert on audio.  He insisted that he was a godfather of electricity, acoustics and gravity. He informed that anybody who ever did anything in audio solicited his advice. He claimed that he accomplished some unimaginable result in his listening room. The fact the he works as floor sales person in hi-fi store dose says a lot. The playback that he uses and the ideas that he insists others to subscribe are truly pathetic, so I very fast discard him as one more many unfortunate idiots of audio. However, a few days back I was looking something on-line and I came across the Sommerwerck’s comment that he insisted that his playback and any other audio playback do not do well with large scale music. He claimed that quarters are the most that he can play on his audio “impressively”. That was very predictable (5ch Quads with digital amplification + brainless owner) even though I do not think that that I would care too much about his version of quarters.

The point is not about the unfortunate William and even not about the pathetic expectation that retarget reference point the some audio fools have. The subject that stroke me was mach wider – what complexity of music audio can do and how that complexity relates to audio intelligence of a playback owner. We all know that in most of the cases the so-called high-end audio is good enough only to play what I call “girl with banjo” type of music and it is very seldom hi-fi can deal with full orchestral might. So, the complain of idiot- Sommerwerck are not so unwarranted but there are a reason why  his mind does not operate further then the hi-fi crap the he was presold and that he is so desperate to defend.

Sine I entered the world of horns and multi-amping with good SETs in 1999 I did observed a growth of my playback capacity to play complex music and I did not have the large-scale music syndrome. Incidentally I was discovering an intrusting thing – as my appreciation of Bruckner grew and since I was made my playback more and more able to play Bruckner I begin to develop deeper and deeper rejection of the Sommerwerck-like industry-induced Sound, the Sound that absolutely not able to play anything remotely Bruckner -like.

So, thinking about this further I asked: why do not use Bruckner music as a tool to fight the audio idiocy. A typical audio Morons read these audio publications, listen the retarded sales-people the store and end up with expensive pile of sonic crap on their rooms along with brainless audio-garbage in the heads. How about if to use Bruckner to bleach of that audio stupidity that audio people looks like to eager to sponge from audio would? I need to tell you that there was a lot of audio BS removed from my mind as my interest to Bruckner Sound grew.  As I can see now I would not even go to listen anybody else playback if the owner does not play Bruckner on this playback more or less regularly. Pay attention: in my mind I discard the audio experience and audio accomplishment if the person does not “do Bruckner”. It is not about tastes or personal preferences but about me insisting that until a person has a strong feeling and tangible accomplishment in playing Bruckner than this person in my mind is not ready support audio at the level I demand.

I know, many of you will find my position being very rigid but I am not in business of patting anybody shoulders.  I express what I feel and it is what it is. To me relationship with playback able to play Bruckner is an indication of audio success. Also, in the way how I see the things: audio people, among these who have no audio expertise and not too much audio listening intelligence, might use own relationship with Bruckner sound as an indication how potent their playback is.

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