Métronome Technologie AQWO

SACD/CD TRANSPORT AND D/A PROCESSOR

In an era when polar opposites compete as absolutes, it can be a challenge to acknowledge the different and equally valid ways in which audiophiles approach musical truth. But the reality is that our perceptions of how reproduced music should sound are determined, to a large extent, by how we approach the live experience. For live acoustic performances, some of us prefer a direct, up-close sound, where highs are most vibrant, the spatial nature of sounds is most distinct, swells in volume can sometimes seem assaultive, and detail is most easily perceived. Others would rather sit farther back or in the top balcony, where highs mellow out while lower octaves remain strong, and the resonance of the performing acoustic adds warmth and glow to the musical experience. The collective skill of the architects and acousticians who designed our favorite halls, as well as the background noise created by air circulation equipment, also play a large part in the formulation of our sonic expectations.

Amplified music, regardless of genre, can be an entirely different ballpark—hey, concerts often take place in stadiums and arenas where distance from speakers and stage, as well as the quality of amplification, are crucial to our expectations. Do the speakers distort or the woofers predominate when everyone starts playing at once? Is the sound system maximally colorful, or does it have a high noise floor that lends a gray patina to everything? What microphones are they using? Are the sound engineer’s ears intact, or have they been irreparably damaged from years of working with loud bands? Anyone who regularly attends live concerts has experienced what happens when the sound engineer sits under the balcony or at the very back of the performance space and calculates tonal balance (and volume!) on something very different than what those up front hear.