I think I’ve finally worked out what’s been going on.
It turns out there’s been this weird thing about music for quite some time and it wasn’t obvious to me as I mostly followed the audiophile community conversation. I’ve shifted my attention to what recordists talk about, and have revised my understanding.
Working with active musickers, recordists create encoded representations of sound for passive musickers to hear.
Some hearers expect recordings to be what they are not, and mind them into listenings that have features not present in the recordings, often using ‘high-end’ hi-fi equipment selected to reproduce recorded sound with exceptional fidelity or accuracy!
Enablers called hi-fi marketers profit from giving persuadable hearers reasons to buy their expensive products in the never ending search for audio Paradise, by making claims about how they can gain special and superior access to what they say is captured sound through their special reproduction capability.
Now, some recordists are creating studio productions that are too complex (the soundstage is too big) for stereo rendering, apparently.
It seems odd that the pursuit of high-fidelity musical sound might include imagined content, then again, that ‘magic of hi-fi’ is the payoff for adopting the audiophile mindset. Followers can conjure gains if willing to pay the cost of subscribing to the ‘reproduction values’.
As I’ve come to understand better the ‘production values’ applied to recording practices, I have revised my appreciation of what is required of the devices I use to hear musical sound, and this is coinciding with technology and price shift in transducers.
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Music & Hi-fi Appreciations 