Testing audiophile claims and myths
Dec 10, 2018 at 11:12 AM Post #11,401 of 17,336
... there are many non audio aspects that can trigger a change or even cause a reaction in the auditory cortex or anywhere else. just with the research available, we cannot doubt that to be true. but is it hearing?

Well, I'm divided on this. On the one hand, I'm sure I don't need Hi-Res for my personal listening needs. Even worse, actually. I convert everything to lame V0 mp3 and call it a day.

On the other hand, I want to keep an open mind and avoid generalizing things or being overly dogmatic. Yes, I know that non audio stimuli like watching video or lip-reading too can trigger a reaction in the auditory cortex. But what if the stimulus is solely a sound source with ultra-high frequency content (and not something else)? What if research shows that the sound of ocean waves with ultra-high frequency content triggers a brain response in listeners that is significantly different from the 20kHz brickwalled version? How would you name the perception of that part above 20kHz then, that makes the difference? If it's not "hearing" (because we define 20kHz as top end of the audible range), what else is it then? To me, it would seem a bit arbitrary to call perception of a sound stimulus >20kHz something other than "hearing", just because it doesn't fit our traditional definition of the audible range.

That's why I called it "more of a semantic question" earlier on, not to sound particularly clever (as bigshot insinuated), but because I really think it comes down to just that.
 
Dec 10, 2018 at 11:34 AM Post #11,402 of 17,336
I agree absolutely....

And that's exactly what I tell anyone who calls our support lines and actually asks....
Judge every album on its own merits (because some high-res files sound great... and some don't)....

A better/different version would be better mastering and perhaps remixing. Those things aren't dependent on format. There are terrible sounding SACDs and great sounding MP3 downloads. The best way to find better/different versions is to speak to collectors in music forums where there are people who have compared different versions carefully and have determined which are the best. Sometimes that is an old CD from the early 90s, sometimes that is a current blu-ray audio disc. The only way to tell which is the best is to listen. Price tag and bitrate aren't a good determiner of audio quality. That's my experience, and I have a house full of tens of thousands of 78s, LPs, cassettes, R2Rs, CDs, DVD-As and Blu-Rays that backs it up. I had one recording that meant an awful lot to me that I bought in multiple formats and releases over the years, only to discover that the best possible version was a 1935 78rpm first pressing on Z shellac.

You can't judge by the numbers. You have to judge by sound.



To guarantee that you are comparing the same mastering in "hi-res" as you are in 16/44.1.
 
Dec 10, 2018 at 12:02 PM Post #11,403 of 17,336
I'm kind of two minds abut whether we should differentiate between hearing situations and how they're affected by outside factors... and where we draw that line.
And I agree that there's also a major grey area between "placebo" and "real influences".... and I'm not sure where to put that line either.

On the one hand, we have things like trans-cranial stimulation.
In the paper I linked to they were talking about using TCS as a sort of treatment for medical conditions.
However, is it reasonable to discount the effect the loud music at a concert has on us via other methods than our ears?
What if the audible music we listen to SOUNDS DIFFERENT to us because that TCS has altered how our brain interprets it?

You also bring up an interesting question about the placebo effect.
For example, we know that certain chemicals, like the caffeine in coffee, actually affect how our nerves work.
Therefore, it's quite possible that your hearing acuity will actually measure differently after two or three cups of coffee, or at a different time of day, or even in a brightly lit room.
But what if your hearing acuity changes when you drink something that you BELIEVE has caffeine in it - but really doesn't?

Several studies I've read (I forget if that includes any I linked to) have noted that it is now widely accepted that there are feedback paths going from our brain to our ears.
In other words, what you're thinking CAN produce physical changes in your hearing acuity.
Your brain sends messages to your ears that alter their response characteristics.
So, in fact, it may be possible that you actually are PHYSICALLY more able to hear sounds when you concentrate on them.
Or, perhaps, it's the opposite, and your brain dials down the sensitivity of your ears when there is too much other information being processed.
(To take an extreme: What if excessive THD starts to sound good when the strobes get bright enough? )

Note that none of this specifically has anything to do with ultrasonic sounds.
Except that it opens up the possibility that, for example, an ultrasonic sound you can't hear might alter your ear's programming, which might in turn affect other things.
(What if the vocalist "sounds different" because that ultrasonic harmonic from some instrument has reprogrammed your auditory cortex... or even the nerves in your ears?)
(Or, as a few people have suggested, what if the "audible range" of that instrument sounds different when accompanied by the ultrasonic harmonics because they affect your brain?)

I'm going to suggest an interesting POSSIBILITY here..... (I'm not claiming that it's necessarily true - but maybe we should check into it).

What if the reason that, for most people, "home listening can never duplicate the experience of a real concert" is due to those extraneous factors.....
What if, at the actual concert, our brains and auditory cortex were "configured a certain way" - thanks to those bright lights, our expectations, and even a little TCS....
And we're never going to be able to properly replicate the auditory experience unless we replicate all the other factors that account for the configuration that goes with it?....

To me, this is stuff we should be testing....

your examples are about interpretation, and the ultrasonic link seems to not even be concerned about hearing at all. yes I present hearing as a sort of spectrum analyzer, or maybe more as a sort of really weird microphone. not because I believe that our brain can't do amazing stuff with the data from that sensor, but because if something can be masked or is simply outside the range of sensitivity of that sensor, then there will be no extra data to interpret. which seems pretty important to me when considering what might matter.

now if you want to use transcranial stimulation as an argument that ultrasounds even when not perceived by our auditory system can still affect our experience, I'm fine with that of course. but I'm not fine with considering that as hearing. and if like @Phronesis you wish to extend the notion of hearing beyond signals captured by our ears, and go deep inside the brain at a cellular level or just as a thought, I'm also fine with that but only so long as your notion of hearing is very clearly and strictly defined. because as of right not it isn't my definition of hearing. there are many non audio aspects that can trigger a change or even cause a reaction in the auditory cortex or anywhere else. just with the research available, we cannot doubt that to be true. but is it hearing? in a brain where our different senses are never strictly isolated(at least not when it comes to interpretation), one could argue that placebo is hearing. that touching is hearing. we even have people for whom the link between senses is more direct, and a sound will have a color or vice versa. but should we define human hearing with such standards?
when we agree in this section that all those non audio variables need to be eliminated in a listening test, we do imply that they all have the potential to affect our interpretation of sound. so all in all it's not a big move to go from our usual position to a position redefining hearing as a more global experience. but it's a very massive difference in definition!
even then, all we do is allow more variables to count as audio. even with that trick, demonstrating that the typical amount of ultrasounds in records is having a clear impact(a positive one!) on the listener, is still something I'm waiting to see. if anything I'd argue that if we open our definition of hearing to a wider range or variables, it automatically makes ultrasounds an even smaller part of what forms our audio experience.
 
Dec 10, 2018 at 12:07 PM Post #11,404 of 17,336
There's the full quote....
From Page 777, bottom right, of the copy I linked.

---------------->
In one brief test with two subjects we added 14 dB of
gain to the reference level quoted and tested the two
sources with no input signal, to see whether the noise level
of the CD audio channel would prove audible. Although
one of the subjects was uncertain of his ability to hear the
noise, both achieved results of 10/10 in detecting the CD
loop. (We have not yet determined the threshold of this
effect. With gain of more than 14 dB above reference,
detection of the CD chain’s higher noise floor was easy,
with no uncertainty. Tests with other subjects bore this out.)
----------------->

Where in that paper does it say that the CD loop was audible with a "slight" gain which you have quoted? It actually says it was noticeable on quiet passages at 20dB above reference levels, hardly what most reasonable persons would call a reasonable listening environment.

This is is not the first time I've called you out on misrepresenting that paper by substituting with your own words. I had a lot more respect for you.
 
Dec 10, 2018 at 12:20 PM Post #11,405 of 17,336
I'm kind of two minds abut whether we should differentiate between hearing situations and how they're affected by outside factors... and where we draw that line.
And I agree that there's also a major grey area between "placebo" and "real influences".... and I'm not sure where to put that line either.

On the one hand, we have things like trans-cranial stimulation.
In the paper I linked to they were talking about using TCS as a sort of treatment for medical conditions.
However, is it reasonable to discount the effect the loud music at a concert has on us via other methods than our ears?
What if the audible music we listen to SOUNDS DIFFERENT to us because that TCS has altered how our brain interprets it?

You also bring up an interesting question about the placebo effect.
For example, we know that certain chemicals, like the caffeine in coffee, actually affect how our nerves work.
Therefore, it's quite possible that your hearing acuity will actually measure differently after two or three cups of coffee, or at a different time of day, or even in a brightly lit room.
But what if your hearing acuity changes when you drink something that you BELIEVE has caffeine in it - but really doesn't?

Several studies I've read (I forget if that includes any I linked to) have noted that it is now widely accepted that there are feedback paths going from our brain to our ears.
In other words, what you're thinking CAN produce physical changes in your hearing acuity.
Your brain sends messages to your ears that alter their response characteristics.
So, in fact, it may be possible that you actually are PHYSICALLY more able to hear sounds when you concentrate on them.
Or, perhaps, it's the opposite, and your brain dials down the sensitivity of your ears when there is too much other information being processed.
(To take an extreme: What if excessive THD starts to sound good when the strobes get bright enough? )

Note that none of this specifically has anything to do with ultrasonic sounds.
Except that it opens up the possibility that, for example, an ultrasonic sound you can't hear might alter your ear's programming, which might in turn affect other things.
(What if the vocalist "sounds different" because that ultrasonic harmonic from some instrument has reprogrammed your auditory cortex... or even the nerves in your ears?)
(Or, as a few people have suggested, what if the "audible range" of that instrument sounds different when accompanied by the ultrasonic harmonics because they affect your brain?)

I'm going to suggest an interesting POSSIBILITY here..... (I'm not claiming that it's necessarily true - but maybe we should check into it).

What if the reason that, for most people, "home listening can never duplicate the experience of a real concert" is due to those extraneous factors.....
What if, at the actual concert, our brains and auditory cortex were "configured a certain way" - thanks to those bright lights, our expectations, and even a little TCS....
And we're never going to be able to properly replicate the auditory experience unless we replicate all the other factors that account for the configuration that goes with it?....

To me, this is stuff we should be testing....

To me, this all illustrates that auditory perception is quite complex, and we can't really isolate it from other senses. Humans evolved to take in information in a multisensory way, not to listen to IEMs.

I think this very much applies to music listening and enjoyment also. Two examples:

- A weakness of headphones is that they lack the visceral bass impact of speakers. We can feel a lot of bass energy through our bodies that we can't feel through headphones. That presents a challenge for headphone design, to simulate and create a perception of suitable amount of bass without being able to produce the visceral impact. Headphones that increase the bass to do that seem to typically suffer from some reduction in clarity.

- When I watch concert videos on youtube with my headphones plugged in to the computer, I'm often impressed with how good the sound quality is. When I then close my eyes, the sound quality seems to get worse and I notice 'flaws' in the sound quality more. The difference seems to be that, when I see the video, I'm pulled into the experience in a multisensory way and I pay less attention to the sound quality - that makes it easier for the sound quality to be 'good enough'. A possible implication here is that when we struggle to simulate live sound quality with our gear, that perceived gap may not mainly be due to the sound quality falling short, but rather due mostly to our not seeing the performers, the music unfolding in real time, presence of an audience around us, etc. I suppose we can somewhat fill the gap by imagining that we're there live, but that of course requires a mental effort where we bring something to the music which isn't there in the physical sound, a sort of 'imposed placebo effect'.
 
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Dec 10, 2018 at 12:23 PM Post #11,406 of 17,336
All true....

I especially liked the way you unilaterally decided that "a transient peak lasting a few milli-seconds and then pretty much nothing" was something we could safely disregard.... I'm personally not as convinced as you are - which is why I was thinking it might be nice to actually test that. And, the last time I looked, there are plenty of plain old moving coil phono preamps that can amplify a 1 mV signal and still deliver and excellent S/N, so I guess that's not such a huge barrier either. Obviously we can design equipment that far exceeds that if we actually choose to do so. (I recall a demonstration some years ago of an ultra quiet op-amp, where they demonstrated that it could amplify the sound of smoke blown across one of the input leads.... each particle generates a distinct tick as it dissipates its static charge through the lead.)

Personally, if I wanted to produce a high-fidlity recording of that bandwidth, I'm probably design a microphone with multiple elements, each optimized for a different frequency range, and combine their outputs. (The inverse of how we design loudspeakers with crossovers to overcome the limitations of each individual driver.) However, I would suggest performing a few tests first, just to confirm for a fact whether the difference would be audible or not, instead of just assuming that it won't.

Geeee ..... What's the name of this thread, is it "Refusing to test audiophile claims and myths (and just make-up a bunch of new ones)" or is it pretty much the exact opposite of that? Why don't you take YOUR OWN ADVICE and record a few drumkit solos with your wonder mic??

For everyone else (in this universe):
KeithEmo is suggesting the use of a very specific type of piezoelectric measurement mic. This type of measurement mic has the advantage of being able to withstand extremely high SPLs and is designed for measuring shock waves! As mentioned previously there is always a trade-off, there is no perfect mic, you can't have a mic capable of such extreme SPLs which still performs as well as other mics in other respects. The trade-off for these types of measurement mics is that they have very poor sensitivity and very high self-noise. Unfortunately, KeithEmo "inadvertently" omits to mention the sensitivity issue and proposes to simply pad (attenuate) the output by more than 30 times to reduce the self-noise. In other words, he proposes taking a mic with very poor sensitivity and effectively reducing it's sensitivity by a further 30 times?!

Just to be clear what we're talking about here: This measurement mic has a sensitivity spec of -60 1V/Pa, which means that with a 94dB SPL signal the mic will output just 1 millivolt. This output level is already BEYOND the ability of studio mic pre-amps to amplify to a useable level (line level) and KeithEmo is proposing to reduce it by another 30 times?! :deadhorse:

For what this mic is designed for, 1 millivolt from a 94dB input is not a problem because it's designed for far higher input SPL levels (up to nearly 10,000 times higher!). In other words, if we get this mic close enough to a cymbal and hit the cymbal hard enough to produce a transient peak of 124dB SPL, the output level of this mic with Keith's attenuator would be a single millivolt and once the fraction of a second of the cymbal's transient peak was over and we're into the decay phase of the cymbal hit (and therefore SPLs many times lower than the initial impact/transient peak), what then? KeithEmo's statement "it will record everything up past 70 kHz" - actually means it will record (at a very low level) a transient peak lasting a few milli-seconds and then pretty much nothing! Of course, if KeithEmo actually took his own advice and tested his claim, he would see for himself how ridiculous it was.

There's a good reason we don't use mics designed to measure shock waves for recording music and it's got nothing to do with artistic decisions and everything to do with simple physics! We can all ignore certain facts and realities and then virtually anything would "seem possible to me ... right here and now...". If for example we ignore the law of gravity, it would "seem pretty possible" that pigs could fly. However, this is the sound SCIENCE forum, gravity does exist and pigs cannot fly!

In addition to all the above, you (KeithEmo) cannot just keep repeating falsehoods even after they've been shown to be false. You specifically chose this mic as an example due to it's ultrasonic freq response (and high SPL capability). However, it's specified 50dB noise floor is an "A Weighted" measurement, which means at 20kHz it's noise floor is most likely double the 50dB figure you're quoting and by 70kHz it's probably around 3-4 times higher but could be as high as about 90dB. As has already been explained, the law/rule of thermal noise demands that the noise floor is higher at higher freqs, so you already know the 50dBA noise floor figure is inapplicable/false in the ultrasonic range, yet you repeat it as a true/applicable fact anyway, why is that?

G
 
Dec 10, 2018 at 12:33 PM Post #11,407 of 17,336
To me, that sounds like a fair summary of the current state of the technology.

The one thing I would add is that, if those ultrasonic frequencies may affect our brains or our ears, in one way or another, then that effect may produce a difference in how we perceive "ordinary audible sounds".
We may hear the audible portions of the cymbal equally, but they may "seem clearer" or "seem sharper", because something we cannot hear directly has affected how our brain processes the sound we hear in the audible spectrum.
(And this might account, at least in part, for the persistent claim that "most recordings just don't sound palpably real".)

This could occur because our perceptions of the audible sounds have actually been altered...
Or it could occur because we unconsciously "notice that something is missing" when the overtones aren't accurately reproduced.

This is what I'm gleaning at this point regarding ultrasonics:

- They're produced by various musical instruments (usually transiently) and in nature and the built environment at meaningful levels. Hence many species being able to hear far above 20 kHz.

- It's possible to record and reproduce these very high frequencies with gear, though that's not usually done.

- These high very frequencies may produce brain responses in auditory regions via pathways which bypass the eardrum, such as through the skull and eyes.

- Some people can consciously perceive these very high frequencies. Others may perceive them only subconsciously. The thresholds for these effects vary a lot between people.

- The effect of accurately recording and reproducing these very high frequencies with respect to music enjoyment is uncertain. It may vary among people.

- If the effects of these very high frequencies are via pathways which bypass the eardrum, headphones may not be a viable option to produce them, and attempting to produce them via headphones may actually be detrimental for music enjoyment.
 
Dec 10, 2018 at 12:55 PM Post #11,408 of 17,336
I don't care if animals can hear super audible frequencies. My dog can buy his own stereo system.

Wouldn't +14dB be about 3 times the normal listening volume? In any case, it sure isn't a slight boost. If their reference level was around 65dBdB, they would be pushing a level of 80dB, which could certainly reveal the noise floor of the recording itself and conceivably could reveal the noise floor of CDs if the headphones isolated well enough. It sure wouldn't be a comfortable listening level though when the cannons start going off in the 1812 overture!

It helps to know what those numbers represent in real world sound.

On the other hand, I want to keep an open mind and avoid generalizing things or being overly dogmatic.

The way to avoid that is to give the person making the claim the opportunity to present evidence and make an argument in support of it. If they present no evidence and just provide you with a million "what ifs", and if they ignore evidence to the contrary and refuse to answer it, and quite definitely if they are clearly biased and no amount of evidence would convince them... you aren't required to keep listening.

Entertaining bogus arguments isn't keeping an open mind. It's more like having an open space between your ears.
 
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Dec 10, 2018 at 2:47 PM Post #11,409 of 17,336
I guess it depends on what you mean by "normal listening volume".

Virtually every chart or list of measurements I've been able to find lists "loud rock concerts" and "full level classical orchestras" as reaching from 110 to 120 dB SPL - or higher.
I also see "sports events" listed at 115 dB SPL (so I guess you would need that to play back a recording of a hockey game at "realistic level".).

I personally consider most rock concerts to be unpleasantly loud and have no desire to reproduce them at original level in my living room.
However, some people most definitely DO seem to want to achieve "realistic listening levels" in their home.
And, apparently, for them, the noise floor of a typical CD would be somewhat inadequate.
(I have most certainly answered phone calls inquiring about "how much power would I need with such and such a speaker to reach 120 dB without clipping?")

Therefore, while you and I both may consider it somewhere between "uncomfortable" and "foolhardy"....
It falls well within the sort of experience that quite a few people seem to want....

I've also heard many CDs where the tracks were recorded at rather different levels.
And, in those cases, it wouldn't be at all unreasonable to turn a "quiet" track up 10 - 15 dB - if you were just listening to that single track.
Likewise, can you honestly say that you've never turned up the volume to hear some odd sound during a track lead-out, or to hear something a musician muttered under his breath?
If not, then I would suggest that also falls under "something a normal listener might sometimes want to do."
Therefore, I guess it is NOT reasonable to claim that "no normal person would ever hear the noise floor of a CD under what they consider normal listening conditions".

Are you really suggesting that, if we want to determine "the minimum acceptable S/N that will never interfere with anyone's listening to music".....
We want to restrict them to: "Listening to the entire CD, all in one pass, at the same volume level?"
To me that seems rather UNREALISTIC.

Science is largely about "what ifs".
So, when discussing "what's possible" they are most certainly to be included.
("What's possible" is most certainly distinctly different than "what's been achieved so far".)

I don't care if animals can hear super audible frequencies. My dog can buy his own stereo system.

Wouldn't +14dB be about 3 times the normal listening volume? In any case, it sure isn't a slight boost. If their reference level was around 65dBdB, they would be pushing a level of 80dB, which could certainly reveal the noise floor of the recording itself and conceivably could reveal the noise floor of CDs if the headphones isolated well enough. It sure wouldn't be a comfortable listening level though when the cannons start going off in the 1812 overture!

It helps to know what those numbers represent in real world sound.



The way to avoid that is to give the person making the claim the opportunity to present evidence and make an argument in support of it. If they present no evidence and just provide you with a million "what ifs", and if they ignore evidence to the contrary and refuse to answer it, and quite definitely if they are clearly biased and no amount of evidence would convince them... you aren't required to keep listening.

Entertaining bogus arguments isn't keeping an open mind. It's more like having an open space between your ears.
 
Dec 10, 2018 at 3:29 PM Post #11,410 of 17,336
That's a nice simple question... and it deserves a direct answer....

Because I don't especially want to....
- it's an expensive piece of gear
- I don't record cymbals for a living
- nobody is paying me to research whether anybody would hear the difference
- nobody is paying me to conduct a study about whether it would constitute a product that someone would buy

However, none of that has much bearing on whether it's POSSIBLE or not.
(If I had done it, that would prove conclusively that it was possible; however, since I haven't, that proves nothing at all.)
Give me a $1 million budget to develop a studio microphone that can record cymbals, with a flat response to 50 kHz, and THD below 1%, and I'll think about accepting the project.
(But, if I fail, that STILL won't prove that it's impossible, but merely that I and my team can't do it.)

Forty years ago, it was impossible to measure a 23 foot ship's propeller with an accuracy of better than 1/2 inch.
Until the Navy contracted the company I worked for to design a device to measure them to within 1/50 of an inch.
It weighed thirty tons, and the first one cost $6 million, but it worked just fine (and was a lot more accurate than specified).
So I guess it wasn't "impossible" after all; it just hadn't been done yet.
(Although it's an interesting question whether that qualifies as "science" or merely "applied technology".)

And, of course, just because something is possible doesn't mean it's worth doing... but that is a separate discussion.

Geeee ..... What's the name of this thread, is it "Refusing to test audiophile claims and myths (and just make-up a bunch of new ones)" or is it pretty much the exact opposite of that? Why don't you take YOUR OWN ADVICE and record a few drumkit solos with your wonder mic??

..................

G
 
Dec 10, 2018 at 3:47 PM Post #11,411 of 17,336
Normal casual listening level in my home is about 60dB. My loudest listening level tops out around 70-75dB with an AC noise floor of about 30dB. I measured it. I don't have to guess what the numbers mean. If I added 14dB to those, my casual listening level would be my absolute loudest listening level, and my loudest listening level would require hearing protection. 120dB is the threshold of pain. It really helps to know what the numbers relate to in real world sound. Without that, it's easy to go down rabbit holes into absurd extremes.
 
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Dec 10, 2018 at 4:03 PM Post #11,412 of 17,336
As far as people listening at levels well above reference... I can confirm that it is disturbingly common. We sell some headphones that (I estimate) are capable of over 100dB SPL at the ear opening... and we have a handful of people complaining they don't go loud enough. We sell a portable speaker that can do around 100dB SPL at 1m, some people return it because it's not loud enough. Some people have to get exchanges because the speaker dies under the strain of being played at maximum volume 24/7.

Just saying... my money would be on the proposition that plenty of people listen to music loud enough that the noise floor of RBCD is not negligible for them. On the other hand they're probably half-deaf already so maybe it is.
 
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Dec 10, 2018 at 4:05 PM Post #11,413 of 17,336
The more you do that, the more you need to do that. It's easy to lose track of volume and destroy your hearing with headphones. Harder to do that with speakers because the police come to your door. But once you hear what 100dB really sounds like, you won't want to go there often... and you sure don't want to do that for lengthy periods time. Edit: I just looked it up, 100dB exposure time for hearing damage is 15 minutes. 120dB would be less than a minute.
 
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Dec 10, 2018 at 4:57 PM Post #11,414 of 17,336
Science is largely about "what ifs".
So, when discussing "what's possible" they are most certainly to be included.
("What's possible" is most certainly distinctly different than "what's been achieved so far".)

I think this is a key divide in the discussions.

If we're talking about science, we don't need to be concerned with practical applications at all, and can talk about what if's, extreme cases, unorthodox hypotheses, etc. That's all standard for science.

If we're talking about practical applications, we don't necessarily need to delve deeply into the science, we just need to know what "works" to get the results we want. It would be rational to dismiss some considerations because they seem very unlikely, very small effects, overly complex, etc.

We can have both kinds of discussions in Sound Science, but should be aware of what kind of discussion people are having, and not crap on discussions that don't interest us.

Personally, I'm mainly interested in scientific discussions because I find them interesting, and from a practical standpoint, I think it's pretty easy to put together a head-fi system which sounds quite good for the purpose of enjoying music, without needing to spend a lot of money.
 
Dec 10, 2018 at 5:17 PM Post #11,415 of 17,336
At Head-Fi the primary purpose of purely theoretical science is to justify audiophool excessive spending. It's what brought the hoodoo of jitter to the forefront and made people spend a ton of money on "low jitter" components that were no different sounding than any other one on the market. It's used to explain why fancy cables are necessary. It's used by unscrupulous DAC manufacturers to justify specs that bats can't even hear. And it what is used to justify "HD Audio" that audibly isn't any different that regular CD quality sound. Pure theory is a tool used to sell you stuff you don't need.

Knowledge is knowing things. Wisdom is knowing how to apply knowledge. There is such thing as an educated fool. It's better to be ignorant than it is to have knowledge without the wisdom to apply it. At least if you're ignorant, you can figure things out by googling. More knowledge without wisdom just gets you further and further down the rabbit hole. If you have both knowledge and wisdom, you can solve problems.

There really isn't much difference between the flowery vague adjectives used to describe the sound of home audio equipment in the rest of Head-Fi and the completely irrelevant pure theory that gets thrown around here. They're two sides of the same coin. And they both serve the same master... snake oil.
 

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