I agree that an amplifier can indeed change one's perception of the music. As I have lived with the ML2 for three years, I think about the music differently. It is difficult to explain. I feel like I am closer to what the performer is doing and the experience makes more of an impact on my emotions. It is a deeper involvement.
"Boring" or "exciting" is not the job of an amplifier. It's there to reproduce a source as accurately as possible. There are already hundreds of sensibly priced amplifiers in current production that fit this criteria and will sound identical to each other at normal listening levels in a double-blind listening test. All loudspeakers no matter how expensive are orders of magnitude more wrong than any decent amplifier, and your listening room is likely more wrong than both combined. The human ear is also highly non-linear in terms of frequency response versus amplitude, so you need to precisely match the SPL of your sound system to the source if you want it to sound even remotely similar. The problem with loudspeakers being wrong is very hard to address as they can only be tuned for specific loading conditions, and those are determined by your specific listening room. As all real-world listening rooms are non-ideal, all loudspeakers will be more wrong than the manufacturer's specs in one way or another. This can be largely addressed with room correction DSPs, but as you've already told me that's wrong despite there being vast amounts of scientific evidence to the contrary, I won't bother going there. As for matching your system's SPL to the source, good luck with that as the original SPL at the source is, to the best of my knowledge, never specified on recordings destined for domestic consumption. If you look at the Fletcher-Munson curve, this can easily introduce a 40dB error at low frequencies totally destroying any perception of reality. Loudness controls were designed to at least partially correct for this, but most audiophiles will tell you to never use them because they don't understand how ears work. Address the points above as best you can and you'll be far, far closer to experiencing something approaching reality, assuming a sense of reality is present in the source.
@@MrSlipstreem I admit that what I am saying in this video not for everybody to understand as it represents completely inverted paradigm from what most people get accustomed. Your response suggests that you completely do not "get it", which is perfectly fine.
@@romythecatsaudio you are actually stating the obvious. Only an idiot would believe that a system will provide an accurate reproduction of a live performance. Only an idiot would also believe that a system can provide an accurate reproduction of what is in the recording. There are thousands of potential sources of distortion in every component, in our rooms, in our ears and brains. So Ok, the "absolute sound" approach is a joke. But so what?
I agree that an amplifier can indeed change one's perception of the music. As I have lived with the ML2 for three years, I think about the music differently. It is difficult to explain. I feel like I am closer to what the performer is doing and the experience makes more of an impact on my emotions. It is a deeper involvement.
"Boring" or "exciting" is not the job of an amplifier. It's there to reproduce a source as accurately as possible. There are already hundreds of sensibly priced amplifiers in current production that fit this criteria and will sound identical to each other at normal listening levels in a double-blind listening test. All loudspeakers no matter how expensive are orders of magnitude more wrong than any decent amplifier, and your listening room is likely more wrong than both combined. The human ear is also highly non-linear in terms of frequency response versus amplitude, so you need to precisely match the SPL of your sound system to the source if you want it to sound even remotely similar.
The problem with loudspeakers being wrong is very hard to address as they can only be tuned for specific loading conditions, and those are determined by your specific listening room. As all real-world listening rooms are non-ideal, all loudspeakers will be more wrong than the manufacturer's specs in one way or another. This can be largely addressed with room correction DSPs, but as you've already told me that's wrong despite there being vast amounts of scientific evidence to the contrary, I won't bother going there.
As for matching your system's SPL to the source, good luck with that as the original SPL at the source is, to the best of my knowledge, never specified on recordings destined for domestic consumption. If you look at the Fletcher-Munson curve, this can easily introduce a 40dB error at low frequencies totally destroying any perception of reality. Loudness controls were designed to at least partially correct for this, but most audiophiles will tell you to never use them because they don't understand how ears work.
Address the points above as best you can and you'll be far, far closer to experiencing something approaching reality, assuming a sense of reality is present in the source.
@@MrSlipstreem I admit that what I am saying in this video not for everybody to understand as it represents completely inverted paradigm from what most people get accustomed. Your response suggests that you completely do not "get it", which is perfectly fine.
@@romythecatsaudio you are actually stating the obvious. Only an idiot would believe that a system will provide an accurate reproduction of a live performance. Only an idiot would also believe that a system can provide an accurate reproduction of what is in the recording. There are thousands of potential sources of distortion in every component, in our rooms, in our ears and brains. So Ok, the "absolute sound" approach is a joke. But so what?