"Ban" wrote in message
news:BWEXb.308440$I06.3150879@attbi_s01...
Reading through all these DBT posts, I came to the conclusion that
changing
parts of the audio-chain other than speakers mainly influences the
perception of the qualities mentioned in the title.

My question is now, how to evaluate this in auditions?

For example: I sit down in my listening chair and play the
Organ-Symphony(1976, DG, Barenboim). Now I know in the beginning the
Celli
and in lesser amount also the brass instruments produce a scratching sound
when intonating, which a friend once made me aware of, and once you heard
it, it almost jumps into the ear. On very good speakers it is much less,
but
I havn't heard any without this noise.
Well, that one was still easy, even if I had not heard it until the friend
could "show" me.

Now the imaging... I know the picture of the concert hall and where the
different instruments are positioned, so listening I can identify the
instruments and it is easier to locate the positions also in the recorded
music.
But when the organ comes in, I'm at a loss. It has its own depth and
width, but is not positioned behind the orchester. In fact it somehow
overlaps with the musicians.

Ban, have you auditioned this piece of music in different listening
settings? The characteristic of the listening environment is often suspect
with these types of things.


Now that friend told me, hehe- this was mixed together afterwards from
different recordings. I do not know if this is true, but to hear these
fine
details, IMHO you have to have just phantastic speakers and a "golden
eared"
friend.

So there seem to be two difficulties evaluating:
Subjective feelings (like taste) cannot be discussed, is imaging
subjective?
Can it be learned?
Are the speakers up to reveal the differences?
--
ciao Ban
Bordighera, Italy