所以作为制造商的我们每个人都会有自己的关于事情应该怎么做的哲学，而这些哲学在不同的设计师之间是不同的。 This is why we have such a great variety of products in the market employing various technologies. My job as a designer is to be true to my own philosophies.
But the job of the customer is to find those things that sing to the heart. Ultimately music is something that exists beyond mere sounds. So in the same way that we choose music based upon the way in which it resonates sympathetically with our emotions and spirit, we build audio systems. There is no deep value in a system that projects sounds in clinically "perfect" ways if that projection doesn't convey meaning and induce deep connections between the music and the listener.
Even the notion of "perfect" is imperfect. Who can know what "perfect" is, anyway? It takes a perfect person ...
It seems to me that the most pervasive error we make when pursuing Audio Purism is simply that we confuse the container for the content, and thereby impose generally irrelevant conditions in order to force music to conform to our (arbitrarily derived) rules about signal propagation."
And there it is: We confuse the container for the content.
As a designer, I have some design philosophies that propel my efforts. I've been increasing my understanding over these last ca: 30 years, and along the way I have been evolving my philosophy governing my approach to cable design.
If there were a single, technically perfect way to design anything in the audio world at all, we would have no need for such diversity of approaches. This diversity is evidence that the popular notion of Perfection as a clinical, technical idea - is a myth.
Though I or others may be pursuing certain technical ideas, and these ideas form the basis for the development of our products, these ideas and approaches are diverse ... and yet each of them contributes to the musical delight of different people in different ways.
Nothing is perfect. Not even our ideas of Perfection are perfect. Let's not let the idea of Perfect be the enemy of the actually Good.
Because oftentimes the Good is really, really, really good.
你可以说BeBop, Swing, Dixieland, Cool, Hard Bop, Free, Latin, Ragtime, Modal, Third Stream，等等…他们同时是“Jazz”和不是Jazz。它们之所以是爵士，是因为它们是在爵士展开的宇宙中进化的，但它们并不是——每个都是——唯一的爵士。
因此，爵士乐本身并不是音乐，而是一个管道，通过它，音乐流动，通过它，我们可以旅行到意识的维度，连接我们自己，彼此，和宇宙。< / p > < p >一些艺术家非常故意用这个神秘主义创作音乐,所以我认为这是有趣的为你提供一个小的播放列表来探索艺术家的很少我喜欢他们的音乐的方式可以抬起世俗现实的面纱,露出了尺寸和深度的神奇,音乐体验。
These are not my Top Ten, even though there are ten titles. Rather, these are ten from among thousands and thousands. I'm skipping over a few obvious choices (John Coltrane, for instance) because you're likely already familiar. Here I'm offering a double-handful of names and albums that you might not have explored, each of them a different entrance into The Grand Mystical Forest ...