More Tune Method Talk...

We use the Tune Method to evaluate performance

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Charlie1
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More Tune Method Talk...

Post by Charlie1 »

Since Fredrik expressed some interest in bringing back this discussion, I thought I'd give it a go.

I know forum posts are opinions but I just want to stress that I'm not saying anything definitive here - it's just how I experience things and currently understand things.

There is one thing regarding The Tune Method, or normal listening, that I just can't shake off and goes against general thinking here. I find rhythm & timing separate to tunefulness, feeling, and mood. The NAC 12 and Nait are still the 'Kings of Timing' for me and, unlike a CB NAP 160 (not bolt down), don't sound overly driven and frenetic. Nothing sounds better playing 'Regatta de Blank' and many other Police songs, especially via Kans and Briks that can do justice to their wonderful timing. And yet The NAC12/Nait are a bit of a one-trick pony, unable to convey the mood and sentiment to the same extent that Lejonklou and Linn equipment does.

I think it's taken me a while to reach this conclusion because I spend 95% of my listening time playing background music where the time domain is crucial for me to not become fatigued or distracted. If the timing is too far off, then the music is constantly draining a few % of my brain power in order to stitch it back together. Whereas dedicated listening is the opposite - after the initial excitement of something like the Nait, I quickly become bored because it's not drawing me into the music enough, unlike Lejonklou in particular which is so good at conveying the meaning of the song.

And then to complicate things, some Linn equipment of the past 20-30 years is very flowing and tuneful at a superficial level but also a bit boring somehow, a bit 'meah' - I'm thinking Chakra amps in particular but some other products too. It's like the tune is so well preserved, even at the expense of some emotion, and it starts down the road of meaningless puff -- I'm exaggerating of course, but trying to convey an impression.

None of this seems to fit neatly into the standard Tune Method / Tune Dem definitions.
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Re: More Tune Method Talk...

Post by beck »

We have to accept that perfect is not an option.

If perfect had been found there would not be so many takes on hifi.

That is why the playground is important. We get to hear many different takes on reproduced recordings. We get to hear that when you gain something you often loose something else.

To me the Tune Method is an balancing act between different musical aspects. Seperate lines of music should be heard but not at the expense of good timing and the lines have to create a musical whole in my mind.

To me the above is an ongoing “fight” that can never be truely won. We will always end up with something imperfect.
Playing cd’s…………
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Re: More Tune Method Talk...

Post by Spannko »

I wonder if the following will help us to understand what we all experience a little bit more?

Here’s a generalised Auditory Scene Analysis model of how we possibly make sense of the auditory world around us.


710465B1-B5D3-414F-ABCA-DF278C4751E2.jpeg


The process looks pretty complex but, for me, the interesting bit is the “Perceptual Features” section which separates the soundscape into three channels: “Timbre”, “Pitch” and “Location”. Interestingly, there isn’t a “Time Channel”, but by looking at the “Multidimensional Feature Analysis” and the “Cortical Responses” column we can see that timbre, pitch and location are all analysed (by our brains) with respect to “Time”.

The three perceptual channels seem to correlate quite well with some of the traditional methods of system or component analysis. Timbral accuracy, for example, is almost the exclusive requirement of Harbeth Loudspeakers. Linn focus on pitch accuracy and positional accuracy certainly appears to be the focus of many manufacturers marketing departments! I wonder if it’s a possibility that by overly focussing on one perceptual channel it can become detrimental to the other two. eg charlie1’s experience with the Linn and Naim amps.

What I don’t see in this model is a “hierarchy of importance”. It appears, that in order to create a complete and accurate auditory scene, all three perceptual features may be necessary, and almost by default, “time” appears to be the unifying bond which holds everything together.
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Re: More Tune Method Talk...

Post by Charlie1 »

beck wrote: 2023-02-12 09:19 We have to accept that perfect is not an option.

If perfect had been found there would not be so many takes on hifi.

That is why the playground is important. We get to hear many different takes on reproduced recordings. We get to hear that when you gain something you often loose something else.

To me the Tune Method is an balancing act between different musical aspects. Seperate lines of music should be heard but not at the expense of good timing and the lines have to create a musical whole in my mind.

To me the above is an ongoing “fight” that can never be truely won. We will always end up with something imperfect.
I agree that compromise and imperfection are unavoidable. I suppose I'm still fighting a bit though.

I like your definition of the Tune Method. But to complicate matters, I'm not sure I will always pick the same option from one day to the next. Occassionally, I go back and forth hearing each option as 'best' but at different times, like I can be in different listening modes or something.
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Re: More Tune Method Talk...

Post by Charlie1 »

Spannko wrote: 2023-02-12 16:03 I wonder if the following will help us to understand what we all experience a little bit more?

Here’s a generalised Auditory Scene Analysis model of how we possibly make sense of the auditory world around us.

The process looks pretty complex but, for me, the interesting bit is the “Perceptual Features” section which separates the soundscape into three channels: “Timbre”, “Pitch” and “Location”. Interestingly, there isn’t a “Time Channel”, but by looking at the “Multidimensional Feature Analysis” and the “Cortical Responses” column we can see that timbre, pitch and location are all analysed (by our brains) with respect to “Time”.

The three perceptual channels seem to correlate quite well with some of the traditional methods of system or component analysis. Timbral accuracy, for example, is almost the exclusive requirement of Harbeth Loudspeakers. Linn focus on pitch accuracy and positional accuracy certainly appears to be the focus of many manufacturers marketing departments! I wonder if it’s a possibility that by overly focussing on one perceptual channel it can become detrimental to the other two. eg charlie1’s experience with the Linn and Naim amps.

What I don’t see in this model is a “hierarchy of importance”. It appears, that in order to create a complete and accurate auditory scene, all three perceptual features may be necessary, and almost by default, “time” appears to be the unifying bond which holds everything together.
That's interesting Spannko. I guess the "hierarchy of importance" would vary from person to person. My appreciation of tone is very weak. I have to ask a HiFi friend if something has good tone cos I really haven't got a clue. Tone deaf I guess :)
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Re: More Tune Method Talk...

Post by tokenbrit »

Charlie1 wrote: .. not sure I will always pick the same option from one day to the next... like I can be in different listening modes or something.
...
Tone deaf I guess :)
I'm not in the same mood to listen all the time, but it feels like you mean something a little more fundamental than that, almost listening for elements with '(selective?) attention' on separate 'channels' to give you a different 'coherence' & result "from one day to the next" (not to over analyse ;) Hey, better tone deaf than stone deaf :!

Out of curiosity: is timbre & tone the same thing? I didn't think it was...

Interesting discussion :)
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Re: More Tune Method Talk...

Post by Charlie1 »

tokenbrit wrote: 2023-02-13 00:02 I'm not in the same mood to listen all the time, but it feels like you mean something a little more fundamental than that, almost listening for elements with '(selective?) attention' on separate 'channels' to give you a different 'coherence' & result "from one day to the next" (not to over analyse ;) Hey, better tone deaf than stone deaf :!
Yes, that's right - that's what I meant :)
tokenbrit wrote: 2023-02-13 00:02 Out of curiosity: is timbre & tone the same thing? I didn't think it was...
You're right. Had a quick read up and tone is often misunderstood and I'm not sure I understand it very well now, but I am timbre-deaf rather than tone.
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Re: More Tune Method Talk...

Post by tokenbrit »

Charlie1 wrote: 2023-02-13 00:15
tokenbrit wrote: 2023-02-13 00:02 I'm not in the same mood to listen all the time, but it feels like you mean something a little more fundamental than that, almost listening for elements with '(selective?) attention' on separate 'channels' to give you a different 'coherence' & result "from one day to the next" (not to over analyse ;) Hey, better tone deaf than stone deaf :!
Yes, that's right - that's what I meant :)
That could be a blessing and a curse: blessing if you can choose to engage a certain mode to maximise enjoyment; but a curse if it's not happening... a la mode :/

It does seem like you have some convergence in your systems if not quite the same exact musical coherence - maybe that's the solution for you depending on mood/mode :?

Being aware of your selective attention & coherence in a given listening mode could provide useful analysis, but may take away from the musical enjoyment of the moment... (maybe play some Pitbull if you want to cut back on that: It's goin' down; I'm yellin' timbre :)
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Re: More Tune Method Talk...

Post by Spannko »

Charlie1 wrote: 2023-02-12 23:26 I guess the "hierarchy of importance" would vary from person to person.
That’s how I interpret the model charlie1. It appears that we can focus our attention on timbre, pitch or location, but not time? I’m not sure that makes sense to me. I took the image from a very brief introduction to auditory scene analysis ……….. ah, I’ve just thought. The model describes scene analysis, not musical analysis, so maybe it’s not a particularly good model for our purposes?
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Re: More Tune Method Talk...

Post by tpetsch »

Spannko wrote: 2023-02-13 07:25
Charlie1 wrote: 2023-02-12 23:26 I guess the "hierarchy of importance" would vary from person to person.
That’s how I interpret the model charlie1. It appears that we can focus our attention on timbre, pitch or location, but not time? I’m not sure that makes sense to me. I took the image from a very brief introduction to auditory scene analysis ……….. ah, I’ve just thought. The model describes scene analysis, not musical analysis, so maybe it’s not a particularly good model for our purposes?
Very true, for me the band needs to be playing together first, musician interplay and quickly understanding the fundamental structure of the performance, and like it or not PRaT is a very important part of it all too, I can only assume that if someone dismisses PRaT they are attempting to make excuses for some sort of shortcoming. Also, no recording is perfect and the media itself -LP/CD- is also not perfect.

All we can assume is that professional artists know what they are doing and they're performance is meant to entertain & communicate to us musically, all other aspects like tone and pitch, bass/treble, space between the instruments, air, or how loud or soft that triangle in the backround is supposed to sound is all assumed Hi-Fi talk that we can't know because were weren't in the studio to witness the original mastering.
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Re: More Tune Method Talk...

Post by Spannko »

tpetsch wrote: 2023-02-13 19:56 Very true, for me the band needs to be playing together first, musician interplay and quickly understanding the fundamental structure of the performance, and like it or not PRaT is a very important part of it all too, I can only assume that if someone dismisses PRaT they are attempting to make excuses for some sort of shortcoming. Also, no recording is perfect and the media itself -LP/CD- is also not perfect.

All we can assume is that professional artists know what they are doing and they're performance is meant to entertain & communicate to us musically, all other aspects like tone and pitch, bass/treble, space between the instruments, air, or how loud or soft that triangle in the backround is supposed to sound is all assumed Hi-Fi talk that we can't know because were weren't in the studio to witness the original mastering.
So for you, prat is very important and pitch is hifi talk. Is that correct?
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Re: More Tune Method Talk...

Post by Charlie1 »

tokenbrit wrote: 2023-02-13 01:38 That could be a blessing and a curse: blessing if you can choose to engage a certain mode to maximise enjoyment; but a curse if it's not happening... a la mode :/
I can't pick which mode I'm in, although if I've been listening to a system for a while then I tend to be in whatever mode that system is in.
tokenbrit wrote: 2023-02-13 01:38 It does seem like you have some convergence in your systems if not quite the same exact musical coherence - maybe that's the solution for you depending on mood/mode :?
Well, the office is easy. That needs very good timing as I mentioned before, but I can be quite tuneful as well, so some Linn amps work fine, like the Wakonda/LK140 and Majik-i. I struggled with the Kairn/Klout though.

Bedroom is tougher cos I want it to be tuneful/meaningful but then it can take me a while to get into the music if the time domain is too far off. I just have to be patient. I'm saying this like it's all sorted but clearly I'm not there yet. And on top of all this are the sonic characteristics that can annoy me over time, hence the white Kans bit the dust.
tokenbrit wrote: 2023-02-13 01:38 Being aware of your selective attention & coherence in a given listening mode could provide useful analysis, but may take away from the musical enjoyment of the moment... (maybe play some Pitbull if you want to cut back on that: It's goin' down; I'm yellin' timbre :)
:) I'll try it!!!
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Re: More Tune Method Talk...

Post by Charlie1 »

Spannko wrote: 2023-02-13 07:25 That’s how I interpret the model charlie1. It appears that we can focus our attention on timbre, pitch or location, but not time? I’m not sure that makes sense to me. I took the image from a very brief introduction to auditory scene analysis ……….. ah, I’ve just thought. The model describes scene analysis, not musical analysis, so maybe it’s not a particularly good model for our purposes?
Well it's interesting and might still apply in some way.
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Re: More Tune Method Talk...

Post by Charlie1 »

tpetsch wrote: 2023-02-13 19:56 Very true, for me the band needs to be playing together first, musician interplay and quickly understanding the fundamental structure of the performance, and like it or not PRaT is a very important part of it all too, I can only assume that if someone dismisses PRaT they are attempting to make excuses for some sort of shortcoming. Also, no recording is perfect and the media itself -LP/CD- is also not perfect.
Yes, I think we both appreciate very tight timing and the P10 defo fits that bill, as do Briks and CB amps. For me, it's essential for background music and very desirable for normal listening, although I put tunefulness ahead of it for dedicated listening when I'll sacrifice some timing for more emotion/meaning/poignancy/sentiment/etc., although of course timing is often tied up with these things too. It's really hard to describe in words how I hear these things. An example would be a slow sad/moody song is often more engaging to me on a tuneful system with average timing than on a super-timed system with average tunefulness. I know many members don't hear things split like this so this must sound like nonsense.
tpetsch wrote: 2023-02-13 19:56 All we can assume is that professional artists know what they are doing and they're performance is meant to entertain & communicate to us musically, all other aspects like tone and pitch, bass/treble, space between the instruments, air, or how loud or soft that triangle in the backround is supposed to sound is all assumed Hi-Fi talk that we can't know because were weren't in the studio to witness the original mastering.
Agreed.
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Re: More Tune Method Talk...

Post by tpetsch »

Spannko wrote: 2023-02-13 23:12
tpetsch wrote: 2023-02-13 19:56 Very true, for me the band needs to be playing together first, musician interplay and quickly understanding the fundamental structure of the performance, and like it or not PRaT is a very important part of it all too, I can only assume that if someone dismisses PRaT they are attempting to make excuses for some sort of shortcoming. Also, no recording is perfect and the media itself -LP/CD- is also not perfect.

All we can assume is that professional artists know what they are doing and they're performance is meant to entertain & communicate to us musically, all other aspects like tone and pitch, bass/treble, space between the instruments, air, or how loud or soft that triangle in the backround is supposed to sound is all assumed Hi-Fi talk that we can't know because were weren't in the studio to witness the original mastering.
So for you, prat is very important and pitch is hifi talk. Is that correct?
Correct, I'm never consciously evaluating the pitch -or any of those other things I mentioned- of a performance, but if the timing is off I loose interest instantly, I'm very sensitive to that. Pitch being not right in a given track may simply be an anomaly of the recording/pressing what have you, but if it persists among all playback we have a problem that I recognize simply as "a problem" that would most likely include other negative parameters as well as pitch, I've never experienced a playback issue only singling out Pitch as the only issue. I frequently bring LP's to other friends home to listen to it on their system to see if I'm hearing the same things I may like or may not like about the pressing and 99 times out of 100 I'm hearing the same things. Such as "Hmm, this LP track has a lot of sibilance" -sibalance being the hot topic as of late on some forums- and sure enough that sibalance is on my friends Keltik system too, or on my other friends vintage Dynaco/Frazier system, etc.
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Re: More Tune Method Talk...

Post by tpetsch »

Charlie1 wrote: 2023-02-14 00:26
tpetsch wrote: 2023-02-13 19:56 Very true, for me the band needs to be playing together first, musician interplay and quickly understanding the fundamental structure of the performance, and like it or not PRaT is a very important part of it all too, I can only assume that if someone dismisses PRaT they are attempting to make excuses for some sort of shortcoming. Also, no recording is perfect and the media itself -LP/CD- is also not perfect.
Yes, I think we both appreciate very tight timing and the P10 defo fits that bill, as do Briks and CB amps. For me, it's essential for background music and very desirable for normal listening, although I put tunefulness ahead of it for dedicated listening when I'll sacrifice some timing for more emotion/meaning/poignancy/sentiment/etc., although of course timing is often tied up with these things too. It's really hard to describe in words how I hear these things. An example would be a slow sad/moody song is often more engaging to me on a tuneful system with average timing than on a super-timed system with average tunefulness. I know many members don't hear things split like this so this must sound like nonsense.
I agree with that Charlie and I for one don't think it's nonsense, music is emotional and that's always the tug of war for me too, balancing the emotional aspect with the timing aspect and the relationship of the two, and for that I'll go back to what someone mentioned earlier about state of mind & body at the time of listening, the emotional synergy for me can very depending on my mood etc, what moved me yesterday may not get me as involved today all other things being equal. ...Also like I mentioned earlier, vinyl especially is not a perfect medium and one LP can very wildly from another, and older -50's, 60's, 70's- all analog recordings seem to pull me into the performance emotionally more than digital mixes and newer analog mixes. But if the timing is off I'll always notice that no matter what my state of mind.
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Re: More Tune Method Talk...

Post by Spannko »

tpetsch wrote: 2023-02-14 01:02
Correct, I'm never consciously evaluating the pitch -or any of those other things I mentioned- of a performance, but if the timing is off I loose interest instantly, I'm very sensitive to that. Pitch being not right in a given track may simply be an anomaly of the recording/pressing what have you, but if it persists among all playback we have a problem that I recognize simply as "a problem" that would most likely include other negative parameters as well as pitch, I've never experienced a playback issue only singling out Pitch as the only issue. I frequently bring LP's to other friends home to listen to it on their system to see if I'm hearing the same things I may like or may not like about the pressing and 99 times out of 100 I'm hearing the same things. Such as "Hmm, this LP track has a lot of sibilance" -sibalance being the hot topic as of late on some forums- and sure enough that sibalance is on my friends Keltik system too, or on my other friends vintage Dynaco/Frazier system, etc.
So, are you consciously evaluating the timing, or is it something which comes to your attention if there’s a problem?
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Re: More Tune Method Talk...

Post by tpetsch »

Spannko wrote: 2023-02-14 02:19
tpetsch wrote: 2023-02-14 01:02
Correct, I'm never consciously evaluating the pitch -or any of those other things I mentioned- of a performance, but if the timing is off I loose interest instantly, I'm very sensitive to that. Pitch being not right in a given track may simply be an anomaly of the recording/pressing what have you, but if it persists among all playback we have a problem that I recognize simply as "a problem" that would most likely include other negative parameters as well as pitch, I've never experienced a playback issue only singling out Pitch as the only issue. I frequently bring LP's to other friends home to listen to it on their system to see if I'm hearing the same things I may like or may not like about the pressing and 99 times out of 100 I'm hearing the same things. Such as "Hmm, this LP track has a lot of sibilance" -sibalance being the hot topic as of late on some forums- and sure enough that sibalance is on my friends Keltik system too, or on my other friends vintage Dynaco/Frazier system, etc.
So, are you consciously evaluating the timing, or is it something which comes to your attention if there’s a problem?
I'm really not trying to evaluating anything in particular, I simply try to relax & enjoy the music as a whole and if something jumps out that disrupts the experience/flow my attention is drawn to it. ...Although when it comes to purposely evaluating the Playground A/B's here I consciously tend to focus on which one pleases me more in an overall musical flow/timing sort of way as I think it's more difficult to gauge it's emotional qualities through my laptop speakers but surprisingly even that too can clearly shine thru at times.
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Re: More Tune Method Talk...

Post by Charlie1 »

tpetsch wrote: 2023-02-14 01:19 ...Also like I mentioned earlier, vinyl especially is not a perfect medium and one LP can very wildly from another, and older -50's, 60's, 70's- all analog recordings seem to pull me into the performance emotionally more than digital mixes and newer analog mixes.
Same here, including most modern analogue LPs, although they are few and far between.

It's good to know when someone else hears things similarly. For a long time I assumed that there was a right and wrong to all this, but I've slowly come to learn that there are different ways to experience music and we're not all the same.
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Re: More Tune Method Talk...

Post by Charlie1 »

tpetsch wrote: 2023-02-14 06:39 Although when it comes to purposely evaluating the Playground A/B's here I consciously tend to focus on which one pleases me more in an overall musical flow/timing sort of way as I think it's more difficult to gauge it's emotional qualities through my laptop speakers but surprisingly even that too can clearly shine thru at times.
This is something that has recently come to my attention through making and listening to clips. Personally, I think the old Linn/Naim gear can come across really well in clips because the timing is so good and there's plenty of music to show that off. Whereas, I find it's harder for Lejonklou/Linn equipment to really shine. I'm much more likely to want to record an emotional/moody song on Lejonklou/Linn equipment, but when I listen back it's usually very disappointing as most of the feeling is gone. Of course, the real point of clips is for comparison purposes, but again, I naturally/automatically pick up on the time domain and probably miss much of the emotional meaning.
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Re: More Tune Method Talk...

Post by Spannko »

tpetsch wrote: 2023-02-14 06:39 I'm really not trying to evaluating anything in particular, I simply try to relax & enjoy the music as a whole and if something jumps out that disrupts the experience/flow my attention is drawn to it.
That’s really interesting, thank you.

I believe that beck advocates this approach, as does charlie1 when he’s in “work mode”, if I’ve understood correctly. I also believe that an acid test of a system is its ability to not irritate our subconscious mind when we’re not actively listening to the music and trying to focus our attention on something else. This is a belief I’ve held since the 1980’s.

However, a few experiences recently have challenged this idea and made me wonder if the idea of “doing no harm” is setting the bar a bit low because it really only guarantees a “pleasant” sounding system, free of any serious irritants. This is how my Linn Exakt Akudorik system sounded. I could have it playing all day without a problem, but when it came to reproducing the magic of music, it was left wanting. When a system really comes together it seems to enter another league of reproduction where rhythms and tunes intertwine into a musical whole, inducing a transcendental state in the listener.
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Re: More Tune Method Talk...

Post by Charlie1 »

Spannko wrote: 2023-02-14 11:06 I believe that beck advocates this approach, as does charlie1 when he’s in “work mode”, if I’ve understood correctly.
Kind of.

Work mode is focusing on work but having well-timed music in the background that doesn't annoy/distract me.

Home mode is choosing to ignore any minor timing annoyances and be patient so that the meaning of the music can come through and engage me. I have to wait and be drawn in.

If I listened to the work system at home then my mind would start to crave other stimulation and I'd start looking at my phone. Don't get me wrong, a good work system can be very rewarding - it's just a different type of listening experience for me.
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Re: More Tune Method Talk...

Post by lejonklou »

Spannko wrote: 2023-02-14 11:06 When a system really comes together it seems to enter another league of reproduction where rhythms and tunes intertwine into a musical whole, inducing a transcendental state in the listener.
Yes! This is what it’s all about for me.
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Re: More Tune Method Talk...

Post by tpetsch »

Charlie1 wrote: 2023-02-14 11:37
Spannko wrote: 2023-02-14 11:06 I believe that beck advocates this approach, as does charlie1 when he’s in “work mode”, if I’ve understood correctly.
Kind of.

Work mode is focusing on work but having well-timed music in the background that doesn't annoy/distract me.

Home mode is choosing to ignore any minor timing annoyances and be patient so that the meaning of the music can come through and engage me. I have to wait and be drawn in.

If I listened to the work system at home then my mind would start to crave other stimulation and I'd start looking at my phone. Don't get me wrong, a good work system can be very rewarding - it's just a different type of listening experience for me.
Correct, theirs background music that we don't judge, it simply is what it is as we cant control it like at the gym where I have no problems at all tuning it out unless they play something like "Suspicion" Terry Stratford version (1964) which played the other day out of the blue and my attention was suddenly on this song, what a little gem that was even though the gym system sounds like a glorified intercom -BTW, I'm not suggesting your work system sounds this way Charlie. ...Then there's dedicated listening at home where I strive for the same things that Spannko mentions above where "rhythms and tunes intertwine into a musical whole, inducing a transcendental state in the listener." This perfect balance happens for me late at night when I'm most relaxed, it's very quiet, the lights off, eyes closed and the electricity is flowing into the house at it's cleanest. This all came together the other night with a digitally mastered LP "Morcheeba, Big Calm" Reissue of all things, great digital mastering on this one.
Rega P10, Aphelion II, Aura. Naim CB 32.5/HC, Naxo 3-6/HC, 3x250 into K20/DMS.
Charlie1
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Re: More Tune Method Talk...

Post by Charlie1 »

tpetsch wrote: 2023-02-14 20:03 Correct, theirs background music that we don't judge, it simply is what it is as we cant control it like at the gym where I have no problems at all tuning it out unless they play something like "Suspicion" Terry Stratford version (1964) which played the other day out of the blue and my attention was suddenly on this song, what a little gem that was even though the gym system sounds like a glorified intercom -BTW, I'm not suggesting your work system sounds this way Charlie. ...Then there's dedicated listening at home where I strive for the same things that Spannko mentions above where "rhythms and tunes intertwine into a musical whole, inducing a transcendental state in the listener." This perfect balance happens for me late at night when I'm most relaxed, it's very quiet, the lights off, eyes closed and the electricity is flowing into the house at it's cleanest. This all came together the other night with a digitally mastered LP "Morcheeba, Big Calm" Reissue of all things, great digital mastering on this one.
Sounds like perfect in-the-zone moments tpetsch.
Streaming the 'The Sea' right now :)
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