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Never has there been a generation so stuffed, packed, and surrounded by an acoustic environment of wall-to-wall, ceiling-to-floor, air molecule-to-molecule music. And most of it played back on equipment that resembles the real thing about as much as the atmosphere on Mars is like unto that on Earth.
And then there’s the matter of the sorrowful quality of the music itself, this sonic wallflower. Endless instrumental versions of “The Way We Were”, “You Don’t Send Me Flowers Any more”, “Yesterday”, “Memories”, all blurring into memories of the way we were yesterday, “when I was 64”. Not even the classics are safe from the all-devouring aural satyriasis. Tonight we love a stranger in paradise with full moon and empty arms.
Combine garbage sonics and a compacted musical garbage—and know this is how Americans see music. Then you may begin to understand why some of us think music itself is in danger of being corrupted and turned into something it was never meant to be, an instrument for mood manipulation, instead of what it could be, an affirmation of all that is good about our species.
It is more than mere coincidence that the decline in the quality of American discs, which were, up through 1964 both the best-sounding and the best-made on earth, paralleled the decline in reviewing standards in the audiophile magazines. That decay was first evident in an increasing number of record ads in the pages of those publications and a decreasing sensitivity to both the sound and quality on the discs. The major American record companies are even more vindictive than the audio manufacturers when it comes to getting even for a highly critical review. Advertising has been pulled, and more than once, when one has the temerity to tell the truth about the sound and manufacturing quality of a disc or component. The result is that today there is a complete absence of sonic criticism: Everything, record or component, sounds great. Just great. And unless one is in a monolithic position within the industry, he is likely to find himself penalized for telling the truth, the advertisers clinging to the publication with the blandest, most pro-industry editorial policy and the consumer be damned.
กะที่แกสรุปว่า อะไรคือ high end system จริงๆ
The best High End systems will allow you to hear not only the individual string instruments in the violin section of an orchestra, but even the spaces between the players. You will be able to hear the back wall of the orchestra, and, in some cases, you may make an educated guess about the material of which it is constructed. A hall’s acoustic signature is immediately recognizable, even its imperfections. And all of this without the usual distractions imposed by lesser systems, noise, distortions, compression of dynamics, unwanted peaks and valleys that play havoc with the orchestra’s harmonic envelope. In short, with a High End system, you are more nearly able to disregard the system itself. As the act of sex is supposed to eradicate (temporarily) sexual desire, so a good music playback system is supposed to eradicate the system itself, to make it transparent, and allow you to listen back through the system to the musical event itself.