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Rightness in Motion

In a recent email conversation with Frihed89 about his latest adventures on the way to “getting it right,” (his words), I dropped the gratuitous remark, “Getting it right would be great if 'right' would stand still!” and now I can’t get the remark out of my head.

Because, at least so far, any one system can only get aspects of what ‘live’ music sounds like, we tend to move around among systems seduced by what aspect seems most important to us at the time. And because beauty, clarity, physicality, fullness, robustness, ease, subtety all have their appeal -- all are ‘right’ about an aspect of ‘live’ music, if we get out and around and hear systems that get one or two of these aspects ‘right,’ we find that rightness does indeed appear to be moving around. Even those of us who think we know which aspects of live music are most important to us can get into trouble when we hear a system that gets something we didn’t think mattered that much to us perfectly right.

Any system that gets some aspect(s) of music wonderfully right can have become persuasive if we live with it long enough. This is what can make the experience of hearing something that gets other, different things right so confounding. At first, the new thing sounds wrong, sometimes utterly wrong. If we run away at that point, we’re safe. But if we stay around long enough, in many cases the new thing will begin to reprogram our attachment to what had been our ‘reference,’ changing our sense of what is most important about live music. And then, if we’re patient enough -- if we have some good reason for remaining patient -- we may well find that rightness has moved and that we have new reference.

I apologize to those of you to whom this is obvious. It sounds obvious spelled out this way but the experience has always been quite a shock to me.

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Topic - Rightness in Motion - Bob Neill 08:41:50 06/18/13 (62)
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