This commentary is about two things — knowing the kind of music you like, and getting the kind of sound you want.
If you believe what you read on the various sites where audiophiles freely dispense advice about everything under the sun regarding music, recordings and equipment, you are asking for trouble and you are surely going to get it. You will encounter an endless supply of half-truths, untruths and just plain nonsense, more often than not defended tooth and nail by those with typing skills but not much enthusiasm for the tedium of tweaking and critical listening.
What kind of equipment are these people using? How deep is their experience in audio? Truth be told, I was pretty misguided myself during the first ten (or twenty, gulp) years I spent in audio, reading the magazines (I still have my Stereophiles and Absolute Sounds from the ’70s in boxes in the garage), traipsing from stereo store to stereo store, trying to figure out what constituted Good Sound so that I could manage to get my own equipment to produce something like the best I heard.
Most of the time what I heard made me want nothing to do with that kind of sound.
I sympathize with those who have trouble making sense of this hobby. It can be very confusing, especially to the neophyte. It takes a long time (with plenty of effort and money expended along the way) to be able to answer some of the most fundamental (and most often overlooked) questions in audio:
1) What kind of music do you like?
2) What kind of sound do you prefer?
Armed with answers to the above two, the next question to be asked is:
3) What equipment will best be able to give you the sound you prefer on the music you like, within the limits of your budget, room, Wife Acceptance Factor, etc.
If you haven’t been doing this audio stuff for at least ten years you probably don’t know the answers to those last two questions. In other words, you still have a lot to learn. (I know people who have been doing it for far longer than that and still don’t have a clue.) I may not have all the answers, but after being in audio for more than thirty years, about half of that full-time (full-time being sixty to seventy-plus hours a week), I can say without embarrassment that I have some of them. And for the most part I got them the old-fashioned way: I earned them.
Do You Like Rock Music?
Then make sure you buy speakers that can play rock music.
Don’t buy screens, panels or little boxes with subs.
They may be cheap, they may have pretty good Wife Acceptance Factor, but they do a piss-poor job of playing rock music, so do yourself a favor and avoid them. Rock needs dynamic drivers, the more the better and the bigger the better. There is no substitute for piston power when you want to rock.
When you walk into your audio showroom and for your budget they show you a little two-way box with a six or eight or even ten inch woofer, walk out and go somewhere else. Find another way. That speaker won’t play the music you love, not properly anyway. It cannot do the job you need it to do, and that makes it mostly a waste of money.
So how do you learn about all this stuff?
Audio friends and fellow travelers can be very helpful. You might also get some tips and ideas from magazines and websites.
But ultimately it’s up to you to teach yourself. Much of the commentary on the site has to do with the real nuts and bolts of the recordings we review — exactly what to listen for, precisely which sonic strengths and weaknesses can be found in which songs, and the like. This is what we listened for, it’s how we separated the wheat from the chaff, and we offer it on the site as a guide to help you recreate the very same magic on your own stereo in your own home.
There are scores of pages of this kind of commentary throughout the site. We even created a special section for some of it, called Audio and Playback Advice with another group of links to Home Audio Exercises.
Why Do We Bother?
What other record dealer on the planet would bother? But we do it for a reason. We charge a lot of money for our best LPs. We want to help you understand and appreciate what makes our pressings special, so that when you buy them, you do so secure in the knowledge that the price will be more than justified by the quality of the sound when you get it home. Ultimately the records must speak for themselves. If we are going to charge hundreds and hundreds of dollars for fairly common rock records like After the Gold Rush or Rumours, those records better deliver, and deliver in a big way.