I have been interested in accuracy since I was ten years old and because of that I read every book I could find on the subject. I became a serious archer at a very young age, and by sixteen was deep into rifles and shotguns. Over the years this passion for accuracy matured into serious competition in archery, crossbows, benchrest shooting and black powder shooting. It takes thousands of hours of “tuning” to bring a custom made precision firearm or bow to its full potential, and accurate shooting is a very serious mind game. Accuracy is all about precision, control and repeatability. Which is why I found it so strange in the 1960s that “accuracy” was used to describe the highest aspiration in the audio arts. To be sure accuracy thrills men. The champion stars, the Basketball players, baseball players, football passers, hockey players, and golfers that  achieve extraordinary skill at “hitting their target” receive enormous rewards....but that has been true for thousands of years....the most accurate shots were always the heroes of culture....including David. Men love accuracy.

And when I look all around in the music business, including composition, performance, recording and instrument making the notion of musical accuracy is completely alien. And then when I survey all of the other arts from painting to pottery, I also can’t find in any of the critical literature and aspiration for accuracy.

Of course at the root of this notion is that if we could compare the input signal of an audio system to the output then we could determine how accurate the system is, and that is the root of the evil. While this seems logical it is an intellectual and artistic far as I can tell on May 18,1998. The reason is that an input to an audio system is a musical signal and its output is a musical signal, and NO ONE on the face of the earth has yet measured or quantified a musical signal in any artistically meaningful way. For those who would like to assert that a steady state signal is a close analogy to a musical signal, I would like to assert that watermelon juice is closer.

So we become subjective in our evaluations of a completely dematerial art form, and that is the essential paradox...there is no concrete substance to music, it is completely dematerial and because of that it can never be precisely or accurately measured or judged. So why use the word “accurate” which is a word of precision to describe the highest aspiration of an art which produces a completely dematerial form; one that is the most personal, subjective and abstract sensation?

To take this linquistic dysfunction even further, the whole notion of trying to accurately reproduce a live musical event in my 9x12 living room when the source for this experience is a tiny plastic disc is an intellectual and creative  insult. The reason I am insult is that the notion of accuracy is a negation of art and metaphor; it is a negation of the transcendent power of audio system to create a music metaphor in my living room; one which offers far wider opportunities of musical relatedness than a live musical event.

Accuracy is a mind game. It is all about precision, but it is not the artist’s hunt. The artist hunts is in our heart, and it is their job to take “the live event/life” and transform it into the transcendent experience  of ecstasy. This is completely personal, unique and symbolic. What I hear in my living room is a Mono Lisa of music, which I much prefer to the real Mono Lisa sitting in a chair, because Mona Lisa as a metaphor is more evocative than the live Mona Lisa.

I am suggesting here that for the high end audio arts to make its next great leap it must also create a new, more cogent language to describe its artistic impulse, and accuracy rightly belongs on the rifle range, and is not a meaningful critical standard of the high end audio arts.

To start this debate let’s be real guys...let’s check out cars, motorcycles, guns, clothes, boats, bicycles...or any other important male totems.

What we quickly discover reading the magazines devoted to these subjects, even the most mainstream, is that the state of the art can’t be bought in a store, off a dealer showroom floor, or out of catalog. The coolest stuff, the “dream” products; those totems that excite our imagination; the true state of the art stuff is custom made for us by the most gifted craftsmen. If you want a state of the art shotgun you go to Holland and Holland and get fitted and leave behind $75K. If you want a state of the art motorcycle put down $50K and call again in six months. Want the state of the art yacht? Just leave a couple of million and come back in two years. Love bicycles? For $5K you can have the state of the art. Want a state of the art Porsche? Your dream can come true for $300K, but it can’t be bought in the showroom. It is always the same: the stuff delivered to stores is designed to accommodate the Mr. Average, even if Mr. Average is Mr. Big Bucks Average.

Why do mainstream magazines tease us with these state of the art toys? A man must have a dream, or his mind goes flabby. Isn’t that the meaning of Playboy’s center folds?

As far as I can tell the American audio industry is the only American male toy industry that has absolutely NO state of the art totems....judging by its magazines. When you look at the Japanese audio magazines you discover a wide variety of state of the art dream audio that are the works of the great audio artisans...and NOT available off the shelves.

Is the total absence of these state of the art “dream” systems due to the fact that they don’t exist in America, or do they exist but must be hidden from view? Or is it possible that the language of the high end audio community has become so corrupted that it can’t make a distinction between the best of the best high quality off the shelf stuff   and the true state of the audio arts? Or has our tribe lost all of its dream energy?



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