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We would not use Mahler’s orchestra to play Haydn’s symptoms and we would not use Palestrina’s orchestra to play Brahms. It is not even the deferent time period but rather a different set of expressive tools the symphonic and chamber orchestras use in order to play different music.  We can talk about the sound of orchestras before and after Beethoven or before and after Wagner but what never is spoken is following:  very much as in the music world there are set of very specific performing procedure to match specific music, as much in audio, there are well-observable set of the pure audio methods to reproduce music DIFFERENTLY by deferent composers or by deferent intentions. (I know, it was a long sentence, read it again)

Surely, those audio methods hardly ever exercised purposefully and sensibly by audio folks. The people in audio, in their absolute dominating majority, have no sense of conviction about how they would like given music to be played. They play music “as is”, and in order to get “agreeable sound” (as they understand it) they just gather around themselves the idiots who are inept to express discontent of criticism. With those typical audio-cretins there are no objectives and they do not “practice audio”, instead they just sucking the sonic popsicles that the industry stuck in their thirsty mouths… However, those few of us why have consciousness and who feel that audio is an expressive tool, we are wondering why we do not moderate the capacity of our playback in accordance to the music we play.

For instance I, running 6 channel DSET-driven acoustic system with 1.5 channels of tonal insertion, do feel that I have a few pre-redeveloped setting. This could make my playback to sound more favoriteable to the following defined by me settings:

1)      Highly compressed source /highly uncompressed source
2)      Renaissance and early Baroque Period of Music
3)      Late Baroque up to the Beethoven First Symphony in 1800
4)      Classical-Romantic Period of Music
5)      Coral Music
6)      Bruckner

Playing with channels, amplification and the operation modes it is possible to transform Playback into a very different beast, able to highlight the best in the SPECIFIC MUSIC.  I would not say that effect is huge. I would not say that I USE those options in my regular listening (some of the changed are VERY complicated and in some cased are imposable in my conditions). However, I do feel that it is needed to be acknowledged and clearly understood that observing the performing and recording tendencies, knowing how it shall be it is possible to moderate what our playback does in order it to have the Chicago’s most brass, Prague’s marinade woodwinds, Austrian insultingly-Intelligent dynamic, Bavarian evergreen softness, Italian operatic hysteria or Russian flute-dominated bass-pressure….

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