Great you finally made it! Just remember your previous settings for the time it goes backwards in tonality. I’m not too sure the current tendency continues steadily 
Are your speakers from ZU also?
Zu Soul Supremes. Steve Guttenberg talked about speakers that you’d never get rid of. These are those.
Sean spinning vinyl on his speakers at RMAF, was the blessed antidote to the uber-serious yet often unmusical stuff in so many other rooms.
Sean has a great attitude in this industry where many people take themselves so painfully seriously.
What do you mean? This hobby is a death sport played out on a daily basis in the arena of Audio forums.
I’m toast.
He who dies with the most toys wins. My wife thinks I’m winning because I have so much stuff. I know better.
Windom reviews often refer to the music sounding “natural”, and like “live” music. Setting aside non-amplified live music, how do we know what natural sounds like? Isn’t all amplified live music colored and swayed by the live venue sound system, which is usually awful? And I imagine very few of us get to sit on the actual recording session of albums in our collection. So who actually knows what “natural” music sounds like, just musicians in recording studios? I‘ve seen a few non-amplified live concerts, but not many and have come to the realization that I really don’t know what “natural” music sounds like, how could I?
All of us are familiar with the sound of the human voice. Vocals sound more natural and alive with Windom.
Yes, the human voice is in the non-amplified category. But what about most everything else? If I listen to Gaucho, which sounds amazing, but how can I know what sounds natural? Snowmass sounds one way, Windom is different, more clear. But what is natural to begin with? Best I can say is I like one or the other, but “natural” seems like a mostly unknowable thing.
That is one of the reasons that one needs to hear live unamplified music every so often: To recalibrate your ears to recognize what “natural” sound truly is.
Right. And I am lucky to have band demos and rehearsal tapes and even a few performance tapes that I recorded during the late elghties and have transferred to CDR and use to evaluate components. Most were recorded in my then garage apartment, with players and equipment I knew well, and are a great resource for this purpose. And I have been lucky to have heard acoustic jam sessions and a few jazz and classical performances this decade with no amplification–these are unfortunately rare occurrences.
Re What sounds “natural”, this might sound silly but I remember when I first got my speakers, being quite surprised that applause now sounds like people clapping and not, maybe rain.
Likewise with bongos and kick drums sounding like the respective instruments being struck, rather than some amorphous “thumping”, which is even more discernible in my system with Snowmass 3.0 and now Windom…
Great album. My Favourite is Black Shoes - bass to make you sit up and take notice.
Black Shoes, Rd Handed and Minka are all great tracks by Felix Laband. One of the thinks I like about Minka is that the organ chords are positioned not between the speakers but nearer the sitting position. An album that makes great use of the effect of sound coming from the seating position (or behind) is Annie Lennox’s The Hurting Time (album is called Bare) - the initial intro has no sound coming from the plane of the speakers - it’s all happening behind the seating position and continues throughout the track.
I too find it difficult to know what the ‘correct’ sound is. I tend to prefer the one that is less fatiguing, is more musical and encourages me to listen more.
Isn’t this all that really matters (rhetorical)
On my system the beeping travels back and forth behind me. The depth is incredible. Listeners that have heard this here swear I have speakers hidden in the back of the room. Annie Lennox has tracks on other albums with surround effects too. It pays to have spent time on proper speaker placement and having tightly matched speakers.