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Actually the approach “this is working fine because SET amp has a correct harmonic reconstruction" I find is very wrong in audio. It is similar to what Thorsten written in his compilation about the loudspeakers problems: “I'm an Engineer in the end, all I want are parameters to which I can design equipment so it makes a better job out of reproducing music” (I do not know in the T’s door I juts use his semantic as an illustration). He in his objectives does not target the interests of a listener but wiling to construct an artificial algorithm and deal with it. It is a noble task of engineering self-amusement and ego-boosting but it is a strategic dead-end of humane-beneficial creatively and a brave claming to hell of real-engendering impotency. For instance the abovementioned Lamm is one of those guys who convinced himself that a arithmetical approximation of Reality (multiplied to his own ego) is all that people need. I can see Kurt Gödel is laughing his ass off… So do I. However, Lamm still has something to back up his visions, would they be correct or not, but there is an army out there of complete idiots who have no ability even remotely understand anything else because the totally artificial and mostly mistaken theories of circuitries and signals: I mean all those John Curls, and the similar to him audiophile electricians…

You see, I am not against parameters or any artifacts representation of realism but they all should be considered and interpreted in context something else that has no relation to engineering. Without a proper perspective all engineering data is just a pile of unrelated gibberish that serve nothing else but the satisfaction of the scopes, voltmeters and dead theories.

Any step and any decisions in audio should be projected to the amplitude of listening benefits and to connect the mechanism of the transformation of those benefits into the language mathematical approximations (what Thorsten calls “parameters”) is the most important thing. However, it should not locked feeling but it should be alive, ever-vivid ceremony… I do not know any other successful ways and I haughtily reject any other ways.

Let me give you an illustration how it works for me. I have local guy, a former clarinet player in some kind of French orchestra… He kind of “doing” audio or at least he is familiar with all those things that exist in audio. A few months ago we went to grab a dinner and begun to dispute about a specific performance of a specific peace by a specific pianist. I suggested that this contained a very specific “load” and has a very specific values but he did not consider that it was a case. Actually he did not consider that this performance were worth any attention at all. I pulled him in my home and played the mentioned piece on my playback (actually it was juts one channel of my playback) The guy realized that by listening this musical piece numerous times within the other playbacks he was not able to grasp “it” because to the different playbacks filtered out the some qualities that existed within given peace of music. Be advised that neither the French guy nor me were taking about any subjectivism or tastes but about the extremely objective characteristics.

The reasons why I brought this example is to illustrate that my playback do not do better or worth any of Engineering parameters. Well, it dose but those parameters can’t not be observed or understood from a position of bare Engineering and I did not discover them because my “engineering capacity”.  An objective-musical evaluation of the engineering parameters and decisions within an environment of a complete absent of any conceptualism, agenda or self–falsification is the only know to me way to improve a playback.

Rgsm
Romy The Cat

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