Ambrosia’s first album does exactly what a Test Disc should do. It shows you what’s wrong, and once you’ve fixed it, it shows you that it’s now right.
We audiophiles need records like this. They make us better listeners, and they force us to become better audio tweakers.
You cannot buy equipment that will give you the best sound. You can only tweak your equipment to get it.
At most 20% of the sound of your stereo is what you bought. At least 80% is what you’ve done with it. (Based on my experience I would put the number closer to 90%.)
This is known as the Pareto Principle
The Pareto Principle, also known as the 80/20 Rule, The Law of the Vital Few and The Principle of Factor Sparsity, illustrates that 80% of effects arise from 20% of the causes – or in lamens terms – 20% of your actions/activities will account for 80% of your results/outcomes.
The Pareto Principle gets its name from the Italian-born economist Vilfredo Pareto (1848-1923), who observed that a relative few people held the majority of the wealth (20%) – back in 1895. Pareto developed logarithmic mathematical models to describe this non-uniform distribution of wealth and the mathematician M.O. Lorenz developed graphs to illustrate it.
Dr. Joseph Juran was the first to point out that what Pareto and others had observed was a “universal” principle—one that applied in an astounding variety of situations, not just economic activity, and appeared to hold without exception in problems of quality.
In the early 1950s, Juran noted the “universal” phenomenon that he has called the Pareto Principle: that in any group of factors contributing to a common effect, a relative few account for the bulk of the effect. Juran has also coined the terms “vital few” and “useful many” or “trivial many” to refer to those few contributions, which account for the bulk of the effect and to those many others which account for a smaller proportion of the effect. — Juran
This Is One of The Records That Did It For Me
Perhaps hearing Dark Side was what made you realize how good a record could sound. Looking back on it over the last thirty years, it’s clear to me now that this Ambrosia album, along with a score of others, is one of the surest reasons I became an audiophile in the first place, and stuck with it for so long. What could be better than hearing music you love sound so good?
It’s clearly an album we are obsessed with. We have written extensively about 50 of them to date. It is our contention that to be any good at this hobby, you have to become obsessed with well-recorded albums and work out the consequences of those obsessions for yourself. We wrote about it here. An excerpt:
As a budding audiophile I went out of my way to acquire any piece of equipment that could make these records from the ’70s (the decade of my formative music-buying years) sound better than the gear I was then using. It’s the challenging recordings by Crosby, Stills, Nash and Young, as well as scores of other pop and rock artists like them, that drove my pursuit of higher quality audio, starting all the way back in high school.
And here I am — here we are — still at it, forty years later, because the music still sounds fresh and original, and the pressings that we find get better and better with each passing year.
That kind of progress is proof that we’re doing it right. It’s a good test for any audiophile. If you are actively and seriously pursuing this hobby, perhaps as many as nine out of ten non-audiophile pressings in your collection should sound better with each passing year.
As your stereo improves, not to mention your critical listening skills, the shortcomings of some of them will no doubt become more apparent. For the most part, however, with continual refinements and improvements to your system and room, vintage pressings will continue to sound better the longer you stay active in the hobby.
That’s what makes it fun to play old records: They just keep getting better!