Take me to your master
I was in a large technology retailer store the other day when I noticed a young adult/late adolescent standing in front of the audio display at the entry to their high-end audio and video department. The system consisted of a pair of hybrid electrostatic loudspeakers from a company with a long history of making such things, a tube amp of notable lineage, and some other stuff. It was playing (not the listener’s choice) some really awfully mastered pop music. Truly, utterly, dreadfully done.
I observed the listener to see what he found interesting in the setup. I’m pretty sure he didn’t know I was watching him. This is all conjecture of course, but here is my impression of what was happening in this young lad’s mind:
Wow, this looks impressive. I’m wondering how a system like this might improve my experience of music and whether I should start coveting something like this. Hmmm … Hmmm … maybe if I move back a little … or up … It really does look impressive … Hmmm … Hmmm … I guess my ears aren’t good enough to notice a difference. I’ll go look at TVs.
The system was set up to let the dipole electrostatics work well: lots of space all around. In spite of this, like the young lad, I could barely stand to listen to it. With the chosen content, I’m guessing the system was showing about 10% of what it could do if you knew what to listen for and close to zero if you didn’t.
There once was a time when high-end gear could make poorly done recording sound listenable. I am beginning to think that current kill, crush, and destroy mastering practices have succeeded in subverting this.