For me, high-end audio is all about the emotion.
Hold that thought for a moment.
In a recent column, my friend and colleague Adrienne Maxwell asked, “Do we really need high-end audio?” She outlined many valid reasons as to why the answer may not be “yes.” Certainly, high-end audio would not be at the bedrock of Maslow’s hierarchy of needs. And the path to high-end nirvana can have many challenges.
As a consumer, there’s the expense (though one can assemble a wonderfully musical system without spending outrageous sums of money, as Adrienne pointed out), the concerns of system and room matching, the need for proper setup, and the possibility that after investing all that time and money your particular combination of room and gear just might not work well together. (The advice of an expert can be invaluable in avoiding this pitfall.)
As a salesperson or dealer, you have a responsibility to provide your customer with what they want. It goes without saying that this requires skill and insight, not just a desire to earn a big spiff.
As a high-end manufacturer, you have to balance the sometimes opposing factors of price, performance, aesthetics, manufacturability, business costs, and market demand. If you’re going all-out on a product that strives for ultimate quality, it will almost certainly carry a high price tag, and the law of diminishing returns will be staring you in the face.
And, yes, sometimes a large speaker might cost $30,000 or $100,000 or more. But consider their multiple top-quality drivers, complex-geometry cabinets with expensive woods and finishes, elaborate crossovers, premium parts, and so on. These don’t come cheap, and manufacturers and dealers have to make a profit. And such speakers can outperform other designs, sometimes dramatically so, especially in presence, scale, dynamics and bass extension.
As a reviewer, I can attest that properly reviewing high-end audio gear is demanding. Let’s say you’re doing a speaker review. You need to listen using different amps, cables, source components, and even rooms in order to try to factor out what the speaker is doing from what the other equipment is doing.
Then there’s the psychological pressure. You have a responsibility to get it right because the stakes with a high-end review are high. Because this gear can be so expensive to produce, a negative review can financially harm a manufacturer, especially a smaller one.
So why get involved in high-end audio at all? And, as Adrienne pointed out, what the heck is it even, anyway?
There have been many definitions of “high-end audio” over the decades, most defining it as the ability for components or systems to more accurately or convincingly reproduce the sound of music than typical products. Harry Pearson, founder of The Absolute Sound, characterized high-end as the ability to reproduce the sound of real music—the absolute sound—in real space. Certainly, when most think of high-end they think of expensive prices.
But, like I said, for me—and for so many others—it’s all about the emotion.
A high-end system is one that crosses the line from a mere (even if high-quality) reproducer of sound to one that conveys the emotional impact of music.
It’s a system that draws you in and engages you. It makes you forget that you’re listening to reproduced sound and makes a direct connection to your feelings on a primal, soul-deep level.
This is an elusive quality. Just ask an audiophile dedicated to the pursuit, or anyone who’s spent hours or days setting up a system at an audio show or a dealer or a customer’s home. A system might sound good, or it might even sound bad, and after painstakingly adjusting speaker placement, cartridge alignment, vibration-isolating feet, room treatment, or what-have-you, there’s ideally a moment when everything comes together and the sound becomes right, locked-in, and, at the best of times, magical.
I fervently believe that high-end audio is worth defending, preserving, and encouraging. (Disclaimer: I’m in the high-end audio industry. And let’s set aside considerations of possible overpricing, marketing hype, accusations of “snake oil,” and other frown-inducing aspects for the moment.) High-end audio reflects not only a constant striving for excellence but a noble (if also commercial) effort to bring listeners ever-closer to the music.
And when you get that closeness, it’s one of the most wonderful feelings in the world.
Frank Doris is the chief cook & bottle washer for Frank Doris/Public Relations and works with a
number of audio & music industry clients. He’s a professional guitarist and a vinyl enthusiast with
multiple turntables and thousands of records.