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The Principle of Hi-End Audiology
All knowledge ultimately means self knowledge. To be an audiophile means also to be an artist of life.
For the pursuit of audio system perfection, we walk a life of deep philosophy that urged us to seek answers and improvement. Piano Turner is perhaps the best audiologist because he made himself that way, because he sought answers and resolutions. What set him apart from other audiophiles was his understanding of the human dynamics of change.
Most traditional audiophiles relied on a style of sound that was set in stone—they gave a fixed set of attitudes that defined their specific form of “audio music”. It reflects a very old form of thought given in Western philosophy in the words of Plato who believed in another realm of eternally static perfection to which we must mold ourselves. In the traditional view, change is imperfect; perfection is sought by denying change any relationship to the deeper, metaphysical reality.
Other audiophiles might improve themselves to the standards of a fixed style, but PT measured himself to the standards of human potential and creation: In the long history of audio system development, the instinct to follow and imitate seems to be inherent in most audiophiles alike.”
Each system belongs to a style which claims to possess truth to the exclusion of all other styles. These styles become institutes with their explanations of the “Way,” dissecting and isolating the harmony and firmness and gentleness, establishing rhythmic forms as the particular state of their mechanical design.
Noting that real music is not fixed and is very much ‘alive’, I believe that the “fancy mess” created by ritualizing music performance is nothing but a deaf devotion to the systematic uselessness of practicing routines or stunts that lead nowhere.
This philosophy promoted by PT was repugnant to many people already mired in traditional habits of thought. Angry or not, they could not deny the significant of this particular principle of Audio Exotics. Our understanding of audio music was too profound for traditional views to keep us back.
The logic of AE’s philosophy is quite simple: The art of audio music is simply to simplify. The audiophiles must ask two questions. 1) What is it that I want to accomplish? 2) What is the quickest, most efficient and effective way to reach my objective?
PT felt that much of the “fancy mess” in audio system wasted time, money and energy, and that styles restricted improvement. Styles, which lead to specialization, make a person incapable of handling a true master of music.
There is a great temptation to exploit favorite music to the neglect of most others. While this may bring initial success, it is unlikely to enable one to gain regular results in the highest-class musical performance.
Most of the Audio Exotics clients is improving and making new discoveries from their system every day. If you don’t you are already crystallized and that’s it.
JLam Music Nation
For the pursuit of audio system perfection, we walk a life of deep philosophy that urged us to seek answers and improvement. Piano Turner is perhaps the best audiologist because he made himself that way, because he sought answers and resolutions. What set him apart from other audiophiles was his understanding of the human dynamics of change.
Most traditional audiophiles relied on a style of sound that was set in stone—they gave a fixed set of attitudes that defined their specific form of “audio music”. It reflects a very old form of thought given in Western philosophy in the words of Plato who believed in another realm of eternally static perfection to which we must mold ourselves. In the traditional view, change is imperfect; perfection is sought by denying change any relationship to the deeper, metaphysical reality.
Other audiophiles might improve themselves to the standards of a fixed style, but PT measured himself to the standards of human potential and creation: In the long history of audio system development, the instinct to follow and imitate seems to be inherent in most audiophiles alike.”
Each system belongs to a style which claims to possess truth to the exclusion of all other styles. These styles become institutes with their explanations of the “Way,” dissecting and isolating the harmony and firmness and gentleness, establishing rhythmic forms as the particular state of their mechanical design.
Noting that real music is not fixed and is very much ‘alive’, I believe that the “fancy mess” created by ritualizing music performance is nothing but a deaf devotion to the systematic uselessness of practicing routines or stunts that lead nowhere.
This philosophy promoted by PT was repugnant to many people already mired in traditional habits of thought. Angry or not, they could not deny the significant of this particular principle of Audio Exotics. Our understanding of audio music was too profound for traditional views to keep us back.
The logic of AE’s philosophy is quite simple: The art of audio music is simply to simplify. The audiophiles must ask two questions. 1) What is it that I want to accomplish? 2) What is the quickest, most efficient and effective way to reach my objective?
PT felt that much of the “fancy mess” in audio system wasted time, money and energy, and that styles restricted improvement. Styles, which lead to specialization, make a person incapable of handling a true master of music.
There is a great temptation to exploit favorite music to the neglect of most others. While this may bring initial success, it is unlikely to enable one to gain regular results in the highest-class musical performance.
Most of the Audio Exotics clients is improving and making new discoveries from their system every day. If you don’t you are already crystallized and that’s it.
JLam Music Nation
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Comments
I would also like to compliment Dso's relentless effort to treat his room utilizing Frank's resonator school of thought AND more conventional acoustic sciences.
He fundamentally treated all 1st reflection point on left and right hand side of the speaker. Then, the 1st reflection point of the rear wall from both speakers are also treated. Now, he told me he could spot the ceiling noises and most likely would need to use two clouds. The most correct way to use the cloud is one cloud for each speaker, also to tackle the 1st reflection point from the ceiling.
There are still noises present in various corners of the wall, and then he treated them with Franck's magical resonator to kill those residual noises. Now, with the acoustics being neutralized so much, he feels the GEC KT-88 has to go away in exchange for the Russian made KT88 re-edition. The GEC sounds soft at the top end but lack control and authority in the lower mid bass and below. When the acoustics noises are there, the GEC compensates for the brightness. But when acoustics constraints is gradually relaxed one by one, the GEC has to go because the compromise on bass response is too much to bear.
DSo only spend 1.5 days on his system every week. I can imagine the improvement this round will be substantial given the hardworks spent on the acoustics.