Miscellaneous ramblings on hi-fi magazines

Who said it did? - Certainly not me, Ian. I only offer my opinion, and tell it as I see it, or hear it. I sincerely hope what I write isn't understood as anything other than that.

Of course it's 'in my head'. One forms opinions based on one's experience: almost every time I've heard a system that places absolute accuracy above all else, I've found it un-involving and boring. Simple.

I'd describe it as a mid-forwardness that adds excitement to the kind of music I mostly listen to (Rock, Indie, R&B, Electronica, Pop). I also listen to Jazz, solo guitar, and numerous female vocalists, where the mid-forward balance lends an immediacy to the presentation that I find gives the music more of a 'live' feeling. It's this sort of thing that helps give my system its fun factor, but it is of course a definite coloration.

Nice system; and one that's liable to sound neutral, but not boring. I've always liked what high-mass T/Ts do in the bass, particularly the Orbe, and a recent experience of the Rohmann left me with a very good impression: it has all the renowned detail of an Ortofon, but with a 'big-boned', organic-sounding presentation, similar in some ways to a Koetsu Black K I used back in the mid-eighties. At one time I even had the SPU Gold, remember those?

Talking of high-mass T/Ts, a friend of mine recently got a Brinkmann La Grange, and it's one of the finest turntables I have ever heard (or seen). It looks a bit like an Orbe, but even more so, if you know what I mean. The build quality is absolutely immense. After listening to something like that, it really does put CD into its proper perspective.

Marco.

 

Hi Dom,

I'm not an expert, but I know what I like, and that's definitely red, and from the 'Old World' (French, Italian, Spanish, Portuguese, etc). I particularly enjoy good Claret, but the problem is it's so bloody expensive in this country (and even in France), and it has such a stuffy reputation. At around £3-10 per bottle, you get much better quality and value from the 'New World' wines. My favourites are mainly the South America's; Chile, Argentina, etc; I also like those from South Africa, but I'm not too keen on Australian reds, as I find them a bit over-oaked and quite high in tannin. Oddbins do a rather nice range of Greek reds at the moment, which are a bit unusual. I like wines that are rich and full, and a bit different from the norm.

1991? As far as Bordeaux goes (or Claret), it was a bad year because of so much rainfall; I'm pretty sure it was much the same up until around 1995, when there was less rainfall, but 1990 was probably the best year for claret in the 90s, with 1996 arguably a close second. I don't really keep track of the best vintages for other styles of French wine, or for wine from other countries because if I drink French wine it's mainly Bordeaux (or sometimes Burgundy), and when I drink wine from other countries, I rely mainly on the grape variety, and sometimes the producer, to help me choose. It's not that vintages from other countries aren't significant, but rather in my experience I find it applies more crucially to Claret.

1988 was a top year for me, too, particularly because Celtic won the double in their centenary year!!

Marco.

 

There's no 'magic' involved, Notaclue, it's about the effect a particular type of coloration has on the sound of a system. Some forms of coloration add excitement to the listening experience, as I've already described with Naim equipment, and also some equipment is more coloured-sounding than others; so the effect varies from system to system, but EVERY hi-fi system exhibits some degree of coloration.

An 'accurate' system has little or no overt character of its own, as the system is made up of neutral-sounding components, and so no part of the frequency range is highlighted in the system's overall balance. System's such as this in my experience, whilst undoubtedly being faithful to the source material, have the tendency to sound rather boring, simply because of their lack of character. For some, this is great, but for me, I prefer the niche appeal of some subtle coloration.

I see building a hi-fi system like making a good recipe: one uses lots of different ingredients and flavours to create a rewarding end product, if not, one is left with something bland and indistinct.

I'll take the tasty option every time.

Marco.

 

That difference in presentation (and preference) I can understand. I did once own a Naim amp and it did sound more emphasised in the midrange than other amps so I recognise that. Personally, I prefer a more hear-through, 'transparent' sound so sold the Naim.

I think tones' original post was right. There seems to be a lot of 'silly' words in hi-fi that are confusing and do infer some sort of magic rather than simple changes in sound. And most of them do just appear to mean 'I liked it' as far as I can tell.

 

Ooops, just missed your reply. One thing I will say about Marco is that his considered responses to questions posed are exemplary!

 

Thank you. One does one's best.

Marco.

 

An 'accurate' system has little or no overt character of its own, as the system is made up of neutral-sounding components, and so no part of the frequency range is highlighted in the system's overall balance. System's such as this in my experience, whilst undoubtedly being faithful to the source material, have the tendency to sound rather boring, simply because of their lack of character.

Yes, they tend to appeal to people who would like to listen to some music, rather than people who get off on hi-fi.

 

Too true. What I think is that we *learn* to listen to hifi, in the same way we learn to watch films or read books. Or brains adapt and filter the raw perception to an amazing degree.
This, I think, is the point at which we begin to *hear* all these very subjective differences.

 

Aha, a man after my own heart, a man that actually listens to music !! Keep it up, James! In the meantime, I've applied to the WWF in Geneva for us to be registered as an Endangered Species.

 

Absolutely, Tones, there aren't enough of us around

Marco.