Opinions Formed from 5 Decades of 'Audiomania'

Summary of Opinions Formed from 5 Decades of 'Audiomania'
by John Coulson (see his high-end system...) / 16-Mar-03
(No rocket science secrets exposed...)

JC has started with a wind up Edison phonograph at aged 8, progressed through 78's to LPs, CDs, LDs, DVDs and DVD-As and has ended up with a world class combined audio-HT system. Herebelow entered, is his experience accumulated from a 50-year lasting Audio trip...

1. The room is of fundamental part in any audio system and its importance is often overlooked. Resonances, reflections and absorptions all compound into what is heard and careful placement of the speakers is fundamental. The room and speakers interact as a system so, before changing speakers, audiophiles should carefully examine their placement and interaction with the room acoustics. (Note we have designed a most successful room which can be seen at: http://www.audioasylum.com/upload/johnc/john.html.
2. The numbers game continues in advertising hype with the emphasis now on digital figures (e.g. bits, up sampling rates) which mean little to most people and, may or may not, relate to sound quality. More important numbers relating to items like jitter are rarely quoted.
3. Very good musical sound from either analog or digital sources is neither easy nor cheap to attain.
4. The most expensive components may not be the best.
5. A genuinely good audio system can reproduce all types of music with finesse - pop, rock, classical, jazz, movies... "Tuning" a system for one particular type of music should be unnecessary.
6. Software in all formats varies greatly in quality but the best analog LPs and digital CDs are remarkably good and yield similar in quality of reproduction. Fine artistry will enthrall in any format provided the distortions recorded in the software are not too gross.
7. Careful arm alignment, particularly VTA adjustment, is critical for good analog LP reproduction.
8. CD digital can sound very close to analog BUT it takes expensive players and DACs to achieve that. I feel the jury is still out on SACD & DVD-A. DVD-A 2CH might be an improvement on Redbook CD but, IMO, is not dramatic enough to warrant the extra expense of the software. I find a well recorded CD (e.g. the LSO discs done by Tony Faulkner) to be very satisfying if there is good artistry involved. I suspect the push for the new formats is as much to do about copy protection as it is to do with improved audio.
9. As at March 2003, surround sound audio software on DVD-A is disappointing with too much gimmickry similar to the "ping-pong" artifacts when stereo first hit the scene. Some like it, but I detest sitting in the middle of the players. I get far more satisfaction from a little enhanced surround from 2CH as processed by Meridian in their latest version 3 861 processor. (Note the version 2 was far less successful and destroyed the soundstage, something avoided in version 3 by upsampling all channels). Surround sound in music should enhance the experience by reproducing hall ambience in the side and rear speakers. It should be subtle, not aggressive.
10. DACs have significantly improved in the last few years, making used units doubtful propositions. Up sampling does appear to improve accuracy and sound quality in some units but is no guarantee of a better sounding DAC.
11. Prejudices abound in audio with many defending valves vs. solid state or vinyl vs. digital, 2 ch vs. surround sound, SACD vs. DVD-A etc. with religious fervor. There is good and bad in all systems and formats.
12. Top audio for HT is just as important as for audio only entertainment as there is a lot of well recorded music in video documentaries and movies apart from opera, ballet etc. (I suspect HT Luddites have not ever heard a really good audio system with HT).
13. Auditory memory is very unreliable.
14. It is important to keep contacts clean so periodic treatment with an electrical contact cleaner is a good housekeeping practice.
15. Large sums can be wasted on fancy power cords. The first move before this should be to ensure there is an adequate dedicated power line to equipment, and if class A amps are in use, then more than one line could be needed.
16. Improvements can be obtained by using line conditioners. We use a PP600 on the front end audio and video components with significant improvement in audio and video quality. Other units are reported to also give improvement but this should be only considered after the power line is OK.
17. I have found no advantage in using balanced lines except in the phono amp to preamp line. The Plinius amps used here all have Ground lift switches (to "ground" or "open") and these eliminate any hum from our complex system of 13 channels.
18. Smooth bass is difficult to achieve, particularly with bass units attached to the mid and top as is usual. Speaker placement for best sound staging is not necessarily the best for room loading of bass - an argument to separate and/or use subs, preferably with bi-amplification.
19. Bi-amplification might be an answer to bass problems and the reasons are well argued by Rod Elliott at sound.westhost.com/bi-amp.htm. However it seems many audiophiles have naive ideas about what is involved in bi-amping and think they can rush in when they have a spare amp. Done properly with active crossovers bi-amplification is great but it should follow after most other upgrades, particularly those to the front end.
20. Many digital systems appear "too bright" and harsh to these ears with the main culprits being poor jitter control (see www.jitter.de/english/engc_navfr.html, for an excellent article on the topic), poor digital to analog conversion and unbalanced sound because of deficient bass reproduction. IMO use of tube component with its pleasant and masking attendant second degree harmonic distortion is no cure and relates to the next point.
21. CD players have to be competitive and consequently, even in high-end units, do not use the best internal components. Nearly all can benefit by more rigid jitter control, something which can be achieved by modifications with Audiocom super clock (there is a good review of this at www.tnt-audio.com/accessories/sclock_e.html) and associated parts. These components are made in the UK and distributed and fitted in many places throughout the world. More details are at www.audiocominternational.com/store/superclock2.asp. The author has modded a lowly Marantz CC-4300 CD changer with these parts and turned it into a true high end product. Such modification paths should be carefully examined before upgrading to a new player.
22. Attempts by audiophiles to counteract the "yin" in one component with a "yang" in another, are absolutely futile and bound to end up as a continual dog chasing its tail situation. Great for dealers but a very (literally) poor approach. The aim should always be to start with a neutral, clean amp, match it with appropriate (sensitive wise) smooth speakers and then feed in the best front end the budget allows. The adage "garbage in --> garbage out" applies so amp and speaker should not be changed to minimize the garbage effect unless either are proven responsible for it. The audio chain is only as strong as its weakest link and unless the front end signal is as good as the budget can stretch to, many following upgrades can be a frustrating waste of time and money.
23. Commercial press reviews in reliable publications like TAS & STEREOPHILE are to be believed BUT it is important to read between the lines. I feel accusations of bias and advertising pressure are unsubstantiated. Reviewers have no more biases than the rest of us.
24. Internet postings may or may not be valid and should be treated with caution. Most audiophiles are entranced by new toys and often seek to justify their audio idiocy. Criticism of their components or their religiously held audio beliefs is as dangerous and as impolite and unwise as criticizing their spouse or children.
25. Audio-video dealers are knowledgeable and are often enthusiasts themselves BUT they are unlikely to recommend brands they do not carry so their advice is based upon what they have in stock. Their advice is to be respected but must be treated with caution.
26. Ultimately, choice of type of music and quality of sound is so subjective that it must be personal so that in the absence of opportunity to audition for oneself, it is important to canvass as many different opinions as possible to be able to form a sensible consensus. The Internet is making that much easier these days and is an invaluable resource.
27. All high-end systems with low distortion and high resolution etc. have their own sonic signature. Judgment of other systems is highly colored by love of the sound from one's own. After having worked upon and refined a system to personal taste, a differing sonic signature might not appeal, regardless of whether or not that differing system is closer to the original sonic signature. There is NO "perfect" audio or video system as each person hears and sees differently with their own genetically inherited set of ears and eyes. What is great for one person may be unacceptable for another. This situation is compounded by "conditioning" which occurs after becoming used to one's home system. Other systems are then compared to this, resulting in appraisals, which may or may not be valid. This makes acceptance of other audiophile opinion a minefield. There is no "BEST" of anything be it hardware or software and trying to chase after it is a guarantee of frustration and lowered bank balance.
28. Audio only and audio with video both have their place in music. I can argue both ways with opera although personally gain greatest pleasure from a well recorded and performed opera in front of a live audience - almost like being there. No argument re ballet as without the video a lot of the music can be downright boring - in most cases it is designed to accompany dancing. Piano and violin recitals can gain from video but the facial contortions, particularly close ups of some singers, does not always add to enjoyment. Orchestral and choral works are best audio only while jazz and popular singing often benefit from video, particularly live concerts. The enthusiasm of performing artists is infectious and adds to musical enjoyment if it can be seen.
29. Musical enjoyment should be at the heart of all home entertainment systems and some brilliant artistry can overcome poor technical software e.g. the 1958 recordings of Callas singing in Verdi's "La Traviata" or Puccini's "Tosca". However, bad technical reproduction from software or hardware can make enjoyment of the music very difficult. Regrettably surface imperfections on LPs fall into this category.
30. Bottom line in all the audio-video mania should be for someone to be satisfied with their home system because they are achieving enjoyment from it. And that enjoyment is to be gained by listening to and appreciating the music, not by listening for audio imperfections.

John Coulson, Tasmania - Australia