As equipment get better and better, gear that is close to the live sound, more true and natural, does it actually get harder to extract good sound and tune the system.
Shouldn't "good sound" and less tuning be the result of better equipment?
When you have a very resolving system, is it showing you more that may create adverse problems if the setup is wrong.
Again, shouldn't a more musical playback presentation be the end result of a "very resolving system"? Though the journey never ends, shoudn't a "very resolving system" create fewer adverse problems rather than more even if the setup is wrong (whatever that means)?
When you start getting more resolving, are you actually getting near the fatigue point, while staying out of it.
Remember that more resolving really implies hearing more detail already embedded in the recording and generally that only happens when our playback systems' much raised noise floors are lowered with every legitimate improvement. That said, theoretically the answer should be no. Ear fatiuge is almost always the derivitive of both audible and inaudible distortions. There are audible distortions like digital noise that when amplifed thru the processing chain can be rather unpleasant.
But there are also inaudible distortions that result in less music info heard at the speaker than what was read from the recording and proceessed - again we're talking a raised noise floor (resulting from all distortions) where the higher the playback system's noise floor, the less music info that remains audible at the speaker. The inverse being the lower the playback system's noise floor, the more music info read from the recording and processed will remain audible at the speaker.
Think percentages of music info remaining audible at the speaker compared to that quantity of music info read from the recording. And this can be broken down to the single note of a single instrument as well. For example. Take the sharp strike of a closely mic'd piano's upper register keys. Without going into detail, when played back at or near live performance volume levels, this should cause ear bleed as well as anything for the simple reason that what we hear at our ears from the speakers is mostly the direct info from keys to the mic with little or no ambient info (the first music info to become inaudible from a raised noise floor). So in essense we hear the piano's sharp upper registers almost as if it's a laser beam headed straight for our ears. Terms likely used here are breakup or flattening out.
If the setup is then wrong, is it easier to push over the top and go bad?? Thoughts??????
I've no clue what you mean by setup is all wrong. Push over the top? Impossible because there's no such thing as detail greater than 100%. Not in a live performance nor in a recording. A live performance contains exactly 100% detail whatever your listening perspective may be. No more and no less. A recording contains exactly 100% detail of whatever the recording mic's captured and has been embedded within. No more and no less. So if we can only strive toward hearing 100% (not 101%) of the music info read and remaining audible at the speaker, how is it possible to go over the top?
The only time this can seem to happen is when a new improvement is made where the system becomes more resolving or more detailed. But the more detail or more resolving presentation due to the improvement also exposes more distortions Remember a truly resolving improvement cannot discern between music and distortions. Since legitimate improvements do not discriminate between music and distortions, it is not uncommon for one to exclaim, "this product is too detailed" and then they remove the product like it was some kind of evil. When in fact, the new more detailed product was simply exposing distortions somewhere in the playback chain that still need to be addressed. And yes, this can happen frequently but there's nothing pushed over the top. It's just a matter of exposing more unaddressed distortions while simultaneously exposing (keeping audible) more music info at the speaker.