ef37a wrote:Old mics and other vintage gear are at the start of the recording process, a situation that the hi fi owning end user has no control over (and can lead to the sonic ****ups Hugh alluded to!)
Let us therefore restrict the discussion to REPLAY equipment that the hi fi buff might buy?
I was for many years a subscriber to Hi Fi News which stayed true to an objective view of audio gear long after the rest of the audio press had gone beardy, subjective tweaks, droning on about $1000 "interconnects" (they are 'king PHONO cables ya pelicans!). They eventually succumbed and I dropped them.
I want to hear what Mozart and the conductor intended not the ideas of some produc'har with a desk full of FX and CERTAINLY not what the builder of amps or speakers thinks it should sound like!
A hi-fI system is a filter. There is no such thing as "uncoloured" in the context of hi-fI or monitoring. We just haven't reached that point yet, by any means. You just have to choose the filter that suits you best. Recorded music is a massive compromise, be it Beethoven or Iron Maiden, we just have to go to a live concert to to prove that, a recording is just that, a recording, and will in no way come anywhere near a live performance, at any price.
Engineers who talk about transparent monitors and neutral rooms are kidding themselves.
You just have to make the best, of whatever is closest to what "you" think it should sound like.
Regarding composers, and performances, a composer has to be very naive indeed to think that he will have any control over the interpretation, performance, or reproduction of his/her work, and some composers actually embrace the idea that after the work has been created it will have many and varied, different forms, and incarnations.