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The elephant in the room...

is your caveatic reminder, implicit or otherwise, of something we all should have learned and digested long ago, that what we hear in our respective listening venues is not the pristine reproduction of the musical event per se but an approximation (due to the limitations of our equipment, acoustics, etc.) of artist/producer/engineer intent, which itself is essentially something as interpretive as a conductor's reading of, say, a Tchaikovsky symphony. Layer atop that approximation of interpretation the lack of any consistent production-to-consumer placement standard (a byproduct, in part, of developments in and ongoing experience with the technology), and it's reasonable to invoke Cole Porter to describe the practical effect.

It's also pertinent in that regard to ask, as Christine has, "why bother?", and to understand that the question is not likely to be limited to the "average consumer".

In saying this, I'm not knocking engineers' "creativity" in fashioning product designed to entertain, and particularly in fostering the illusion that we're hearing the "real thing" (something I suspect early listeners believed they were getting from Edison cylinders). Having spent most of the morning listening to a number of Bert Whyte's productions from the late 50's and early '60's on Everest--and to the Telarc "Music Man" where you sent a train creeping down my side wall (with only two channels, no less)--I have profound respect for the magic (however illusory) you engineers conjure up. But Skeptic's point about the apparent insensitivity to consumers is something that needs to register somewhere for there to be more receptivity, even, perhaps especially, among those of us who fancy ourselves audiophiles, to make the sale. You've asked why hardware manufacturers and retailers haven't put more effort into promoting MCH audio. You may have, however inadvertently and indirectly, answered your own question in part right here.


Jim
http://www.geocities.com/jimtranr/soundroom.html

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