Speaker (and for that matter, electronics) Preferences

MylesBAstor

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Lot's of chatter regrading the Harman's finding but there is another question that is more important to me.

How many of you have had the experience of hearing a new speaker or electronics and instantly fall in love with the piece. For the first hour, the first day, the first week, you are in your honeymoon period.But wait a minute pardner. Something happens. No long does that piece of gear sound quite as good as it did a week or even a couple of hours ago. You start to fidget and become dissatisfied with the sound. Your mind drifts and thinks of everything other but the music.

So my premise: in short term listening or switching, the ear tends to focus on certain qualities like say detail first. But with long term listening, many of the qualities that were initially attractive to the ear, become fatiguing and one just loses interest in the equipment. So does short term testing lead to long term satisfaction?

I know the answer. Sure a few others do to.
 

mep

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Myles-I think we have all been through that. Usually things that jump out at you at first and make you think the device you are listening to is special come to grate on your nerves over the long haul. I think it is more of a good sign when you first listen to a component/speaker and nothing jumps out and says "hey, listen to me." Somthing that almost sounds boring at first blush may in fact be a truth-teller and something you can live with over the long haul.
 

terryj

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So my premise: in short term listening or switching, the ear tends to focus on certain qualities like say detail first. But with long term listening, many of the qualities that were initially attractive to the ear, become fatiguing and one just loses interest in the equipment. So does short term testing lead to long term satisfaction?

I know the answer. Sure a few others do to.

Not completely sure you do know the answer.

I know you are still trying to discredit the findings tho.

In any case, I think your argument falls down of it's own accord. I THINK you are trying to say we get grabbed by these exciting 'details' or aspects that catch our attention? (agreed for what it's worth)

However, in contradiction to where you are trying to go, the type of speakers that would have that artificial details or apsects ARE precisely those with the FR we have been looking at. They are the ones that will stand out superficially, the ones that are accurate (by definition really) will not have those 'hooks' that make it stand out from the crowd.

Again, as an audio reviewer, any interest at all in choofing up to harmons and sitting thru it? After all, you will come away with specific problems with the methodology (as you will have spotted all the flaws) rather than the shotgun scatter approach being used at the moment.

If you ask really nicely, maybe they will let you use different material in the auditions too? (that right amir??) In any case, thru actual inspection of the procedure you could be able to spot the fatal flaw, or you may come away with the idea that it has been carried out just that bit better than you currently suspect, who knows.
 

flez007

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I have learned over the years to try to evaluate any given potential purchase at leasr for 15 days in my room, not always possible thiu, but as a standard practice it pays off.
 

Phelonious Ponk

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Lot's of chatter regrading the Harman's finding but there is another question that is more important to me.

How many of you have had the experience of hearing a new speaker or electronics and instantly fall in love with the piece. For the first hour, the first day, the first week, you are in your honeymoon period.But wait a minute pardner. Something happens. No long does that piece of gear sound quite as good as it did a week or even a couple of hours ago. You start to fidget and become dissatisfied with the sound. Your mind drifts and thinks of everything other but the music.

So my premise: in short term listening or switching, the ear tends to focus on certain qualities like say detail first. But with long term listening, many of the qualities that were initially attractive to the ear, become fatiguing and one just loses interest in the equipment. So does short term testing lead to long term satisfaction?

I know the answer. Sure a few others do to.

Boosted upper mids (or worse - distorted ones) masquerading as detail. A mid-bass hump rather sloppily providing a false sense of girth and "scale," a long gentle boost through the mids, peaking around 100hz then rolling of very slowly toward the vocal range, adding "warmth." Yes, all of that can get very boring, even irritating after awhile. But surely the experienced audiophile isn't fooled by such obvious manipulations? Surely he would immediately recognize and prefer the more transparent window into the recording. It seems the people Harman drags in off of the street do. :)

Tim
 

amirm

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In the type of uncontrolled evaluation we do in audio stores, anything can happen :).

1. You are persuaded by placebo and bias and you buy on that basis, only to have that wear off and be disappointed later.

2. You adapt to problem areas and lean to ignore them. We call this adaptation. Think of how you learn to ignore hum or hiss after you notice it initially. This is the opposite of the effect you are talking about.

3. You learn more about audio with more revealing material that points out problems you didn't notice when you bought the gear. This occurs with compressed sounds where you may find tracks that show artifacts more.

But no, fidelity does not become a bad thing by itself. Heaven help us all if that is the truth :). We would have no leg to stand on. Thankfully, we know if we competently design and evaluate equipment one of the major bonus points is that it will have more consistent performance as Terry says. If that were not the case, we would not have majority of people giving that unit high marks.
 

Mike Lavigne

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Apr 25, 2010
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Lot's of chatter regrading the Harman's finding but there is another question that is more important to me.

How many of you have had the experience of hearing a new speaker or electronics and instantly fall in love with the piece. For the first hour, the first day, the first week, you are in your honeymoon period.But wait a minute pardner. Something happens. No long does that piece of gear sound quite as good as it did a week or even a couple of hours ago. You start to fidget and become dissatisfied with the sound. Your mind drifts and thinks of everything other but the music.

So my premise: in short term listening or switching, the ear tends to focus on certain qualities like say detail first. But with long term listening, many of the qualities that were initially attractive to the ear, become fatiguing and one just loses interest in the equipment. So does short term testing lead to long term satisfaction?

I know the answer. Sure a few others do to.

;)
 

treitz3

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How many of you have had the experience of hearing a new speaker or electronics and instantly fall in love with the piece.
I have and it's rare. Those pieces that I have fallen in love with instantly are still in my rig and to this day still rewards me of what I expected of that particular component. IME, after some time in the hobby, your ears should be able to tell you what may be annoying and/or not so great down the road. When one learns this aspect, they save themselves much heartache along their audio journey. Not to mention, their wallet thanks them.

Is their better? Sure there is. No matter what you have, there is something better out there. Better to you? Eh, maybe not. Let your ears and experience decide. I trust my ears and I trust them because I have no "expectation bias". I have one belief when it comes to reproduced music. Things are what they are, no matter the price.

At least that's where I stand. Your experience may vary. Regardless, enjoy the music. That's what it's all about anyways. The music.

Tom
 

MylesBAstor

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In the type of uncontrolled evaluation we do in audio stores, anything can happen :).

1. You are persuaded by placebo and bias and you buy on that basis, only to have that wear off and be disappointed later.

2. You adapt to problem areas and lean to ignore them. We call this adaptation. Think of how you learn to ignore hum or hiss after you notice it initially. This is the opposite of the effect you are talking about.

3. You learn more about audio with more revealing material that points out problems you didn't notice when you bought the gear. This occurs with compressed sounds where you may find tracks that show artifacts more.

But no, fidelity does not become a bad thing by itself. Heaven help us all if that is the truth :). We would have no leg to stand on. Thankfully, we know if we competently design and evaluate equipment one of the major bonus points is that it will have more consistent performance as Terry says. If that were not the case, we would not have majority of people giving that unit high marks.

Me thinks the problem is that we way too much engineering and far too little about the underlying biology. The reason is that we can't control the biology, so it seems better to ignore it. Bottom line: Our brain is not a computer. It has bottlenecks and serious limitations that can't be ignored.

So let's consider some other studies on motor skills (and all skills, whether they be motor, language, listening, math follow the same rules) done several years ago at the Canadian Olympic training center on skill acquisition. Basically, there are two approaches to teaching a motor skill: "Top Down" and "Bottom Up" training. Top down entails teaching the entire movement and then letting the person cognitively figure out what to do; bottom up is teaching all the parts and then reassembling at the end. All the studies leading up to the seminal Canadian study had shown that bottom up led to faster skill acquisition than the top down approach. The Canadians though decided to extend the time course of the studies and lo and behold found that while bottom up resulted in faster skill aquisition, top down led to better skill retention. Same is true when doing this type of speaker testing in my mind. It's obvious that Floyd used a bottom up approach while I'd say most listeners use a top down approach. Draw you conclusion.

Also we continue to just harp on the engineering and fail to pay any attention to the biological system being studied. Adaptation (read the early papers by Canadian researcher Hans Selye who ID'd adaptation though was wrong on several things such the non-specificity of stressors) as you mentioned is a basic principle of any biological system, whether it be a response to sound, heat, alcohol, etc. Our cells synthesize proteins in response to these stressors (stressors are after all what adaption is all about). We also fail to consider at all about how we learn and that short term memory is very unreliable and space limited. We don't even fully understand how we convert short to long term memories, not to mention those things that are unconsciously perceived.

Then also there's basic issues with understanding the stress of testing and as I've talked about before, the inverted U hypothesis. In other words, there's a distinct relationship between perception and stress. So if you are a pianist, you want minimal stress and maximal perception; if you're blitzing a QB, you want to disturb that relationship by increasing the stress and reducing the QB's perceptual abilities!

But above all we ignore the basic evolution of the brain and its dual nature. We actually have two brains (often working at odds): the older brain consisting of the hind, mid and forebrain making up the limbic system and consisting basically of the hippocampus, hypothalmus and amygdala. Then there's the more recent on an evolutionary scale frontal cortex, the size of which separates us from other species. From an evolutionary standpoint, we've a lot more experience with this primitive brain and many of our automated responses come from this site. The frontal cortex, on an evolutionary scale, is far more recent and we're still trying as human to understand how to use this part of our brain. It seems to me that when we're listening, we're "talking" to these two different structures and thus the dualistic reactions we have to sound and music. I'd postulate that the "early/more automated" reactions stem from our primitive brain (and maybe things we needed for self preservation) and the more sophisticated, emotional reaction to music from our more modern brain.
 

puroagave

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Lot's of chatter regrading the Harman's finding but there is another question that is more important to me.

How many of you have had the experience of hearing a new speaker or electronics and instantly fall in love with the piece.

it used to happen to me at the dealers, and ive bought based on my inital gut feelings -- rookie move -- i learned quickly not to trust 'first' listening impressions. the opposite can be true too, i remember have weekend-long nearly non-stop listening sessions cleaning records, play grading them, over and over again. by Sunday night im convinced my system is sh!t and i want to start over making wholesale changes with my gear (listener fatigue). :eek:
 

MylesBAstor

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Apr 20, 2010
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Myles-I think we have all been through that. Usually things that jump out at you at first and make you think the device you are listening to is special come to grate on your nerves over the long haul. I think it is more of a good sign when you first listen to a component/speaker and nothing jumps out and says "hey, listen to me." Somthing that almost sounds boring at first blush may in fact be a truth-teller and something you can live with over the long haul.

That's generally my finding too Mark!
 

amirm

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Me thinks the problem is that we way too much engineering and far too little about the underlying biology. The reason is that we can't control the biology, so it seems better to ignore it. Bottom line: Our brain is not a computer. It has bottlenecks and serious limitations that can't be ignored.
All three of the factors I mentioned included heavy emphasis on psychoacoustics. I gave you no "engineering" answers but what causes us as humans to arrive at preferences. If by biology you ean something else, then I like to understand it. What I covered includes your ears and your brain. And countless experiences trying to correlate that with what we design and measure.

So let's consider some other studies on motor skills (and all skills, whether they be motor, language, listening, math follow the same rules) done several years ago at the Canadian Olympic training center on skill acquisition. Basically, there are two approaches to teaching a motor skill: "Top Down" and "Bottom Up" training. Top down entails teaching the entire movement and then letting the person cognitively figure out what to do; bottom up is teaching all the parts and then reassembling at the end. All the studies leading up to the seminal Canadian study had shown that bottom up led to faster skill acquisition than the top down approach. The Canadians though decided to extend the time course of the studies and lo and behold found that while bottom up resulted in faster skill aquisition, top down led to better skill retention. Same is true when doing this type of speaker testing in my mind. It's obvious that Floyd used a bottom up approach while I'd say most listeners use a top down approach. Draw you conclusion.
There is nothing obvious there or any scientific case for connecting one thing to the other. I sat through an audio test and found one speaker to sound better than another. You sit in an audio store and make the same decision. But somehow because I couldn't tell which speaker is which, I am a bottom up type of guy and you are top down???

Also we continue to just harp on the engineering and fail to pay any attention to the biological system being studied.
It is the exact opposite. It is people like Dr. Tool and Olive who start with biology: the listener and what could cause him to give us the wrong assessment. They test and tested again how humans behave in these situations and wound up isolating the right data. Others focus on this driver and that driver. This speaker technology or that speaker technology. You are a man of "but what does it sound like?" And here yo are critical of us starting from there?

Adaptation (read the early papers by Canadian researcher Hans Selye who ID'd adaptation though was wrong on several things such the non-specificity of stressors) as you mentioned is a basic principle of any biological system, whether it be a response to sound, heat, alcohol, etc. Our cells synthesize proteins in response to these stressors (stressors are after all what adaption is all about). We also fail to consider at all about how we learn and that short term memory is very unreliable and space limited. We don't even fully understand how we convert short to long term memories, not to mention those things that are unconsciously perceived.
I hear these arguments all the time. But as a person who has been in hundreds of such comparison tests with different time intervals, there is no question whatsoever what enables me to more accurately assess quality differences and as a result, what generates the least stress for me. And that is, the shortest time wins. It absolutely does. I have found differences that people could not find by shortening the comparison time to a fraction of a second. Then it was obvious what was different and everyone would then hear it.

If you have also participated in such tests with varying swap time and can demonstrate how your accuracy improves, then you have something. But just saying it doesn't get us anywhere.

Are tests perfect? No. But they are more prefect than the type of analysis you are talking about. I just went through a version of this with my team. A company had come in and left speakers for us to evaluate. My crew said they sounded really good. I listen and say they sound terrible. They don't believe it. So we bring out the Revel and put them side by side. Immediately they all agree they are a huge step down. They had all heard the Revel as that is the main product on the show floor. Yet they had forgotten its sound.

Then also there's basic issues with understanding the stress of testing and as I've talked about before, the inverted U hypothesis. In other words, there's a distinct relationship between perception and stress. So if you are a pianist, you want minimal stress and maximal perception; if you're blitzing a QB, you want to disturb that relationship by increasing the stress and reducing the QB's perceptual abilities!
When I sat through these tests, there was none of the usual stress you are talking about. Differences are big and so you are not worried about finding differences that don't exist or the other way around. You are being asked to vote. I do that all the time when I sit there evaluating speakers sighted. Here, it was much better because I could hear speakers in the same spot. Can't tell you how frustrating it is to try to simulate the same in our showroom. If this thing was cheap to build, I would build one yesterday.

But above all we ignore the basic evolution of the brain and its dual nature. We actually have two brains (often working at odds): the older brain consisting of the hind, mid and forebrain making up the limbic system and consisting basically of the hippocampus, hypothalmus and amygdala. Then there's the more recent on an evolutionary scale frontal cortex, the size of which separates us from other species. From an evolutionary standpoint, we've a lot more experience with this primitive brain and many of our automated responses come from this site. The frontal cortex, on an evolutionary scale, is far more recent and we're still trying as human to understand how to use this part of our brain. It seems to me that when we're listening, we're "talking" to these two different structures and thus the dualistic reactions we have to sound and music. I'd postulate that the "early/more automated" reactions stem from our primitive brain (and maybe things we needed for self preservation) and the more sophisticated, emotional reaction to music from our more modern brain.
This is all fine but if you can't show research on how it can be put to use and proven in audio, it means nothing. It really doesn't. In 30 years since Dr. Toole has talked about this, no one has put forward these types of research to counter it. The scientific standard whether we like it or not, is to eliminate bias and then evaluate.

I think we have to be honest here Myles. We really do. Honest answer says the findings don't match our preconceived notions. That is a fact. It is absolutely positively true. I don't think you have lived through your audio assumptions being challenged but I have been in so many that I no longer hang on to them as you do. I know as a human, my judgement of audio fidelity can be so wrong that makes you look like a fool :). I have sworn files to sound better only to do binary tests that show them to be identical. I don't go and say, "well, it was the stress of the test." It was not stress. I simply convinced myself one was better. Simple as that.

We don't have perfect tools for this business. But that is not cause for pretending science does not exist. Lots of good data does exist.

If I were you, next time you are in LA, I would ask Sean to let you take the test. Until you take it, you can't make a case for your cause. You are speaking hypothetically about something you have not experienced.
 

JackD201

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I've learned to be wary of "impressive". Not to say, I don't like being impressed. I definitely enjoy that.

For me however it is all about balance. We all listen to a song differently each time. I might be following the melody or bass line or whatever else at any given time and the next time I listen to the same song it will not be in that same order of focus. The odds of listening exactly the same way even twice must be astronomical. Myles hit an important point: biological bottlenecks, because I don't think anybody can take all the stimulus in and process it at the same time without the mind starting to wander off. We need anchors for focus. Take something musically simple like counterpoints. One plays off the other and you can switch between both making each, in turn, the primary but as the McCloud says, "there can only be one".

Going back to balance, my problem with "impressive" gear is that they have a tendency to emphasize certain instruments. This can be a problem if you listen like I do for musical lines that are more deeply buried and you've got a first chair yelling "look at me not at the idiot with the triangle back there!". Funny as the guy might look in a tux, standing straight, triangle in hand patiently waiting his turn having you wonder what he did to get that gig, the composer of the piece wrote his part in ergo he should be heard. What get's fatiguing is trying to hear past anything overbearing.
 

terryj

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For me however it is all about balance. We all listen to a song differently each time. I might be following the melody or bass line or whatever else at any given time and the next time I listen to the same song it will not be in that same order of focus. The odds of listening exactly the same way even twice must be astronomical. Myles hit an important point: biological bottlenecks, because I don't think anybody can take all the stimulus in and process it at the same time without the mind starting to wander off. We need anchors for focus. Take something musically simple like counterpoints. One plays off the other and you can switch between both making each, in turn, the primary but as the McCloud says, "there can only be one".

.

And therein lies the power and beauty of INSTANT switching. As you pointed out, you could be concentrating on the bass at that particular instant in time, then (as it is instant) when the switch is made you muist still be concentrating on the same thing.

The converse, normal auditioning (which people think brings out the true differences) must, again by defintion, be subject to the very problems you just pointed out.
 

JackD201

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What point do you think I'm trying to make Terry because I think you misunderstood me. When I say switch between both I mean a mental switch in focus not devices.
 

Mike Lavigne

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i suppose the real measure of this question is when you visit a friend's system, which type approach results in a system you seem to enjoy again and again? the techie objectivist's DBT based decision system? or the subjective longer term sighted decison listener's system?

obviously budget and room potential are varibles which would be issues.

who cares what science says in specific questions? what is the actual collective result of a particular approach in musical enjoyment and involvement?
 
Last edited:

amirm

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i suppose the real measure of this question is when you visit a friend's system, which type approach results in a system you seem to enjoy again and again? the techie objectivist's DBT based decision system? or the subjective longer term sighted decison listener's system?
The former is not a "techie" thing. It is a human evaluation just you like you do when you go to someone's home. Except that you get to have your home system with you and can AB them instantly and not try to remember how they would compare. Moreover, they would be placed in identical rooms, not two different ones. And finally, the sources would be the same. All of this points to a human test that is more accurate.

And this is an unexpected benefit: you learn about differences between speakers in ways you never learn. When you hear speakers in the exact same situation, the design differences come right out. I can't tell you how vivid my memories of Martin Logan speakers are as it contrasts with other speakers. Never had that accurate sensation before.

obviously budget and room potential are varibles which would be issues.
Huge issues when it comes to speakers.

who cares what science says in specific questions? what is the actual collective result of a particular approach in musical enjoyment and involvement?
So we don't like the science. And we don't like what listeners say what they like. What is left to go by ?
 

terryj

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What point do you think I'm trying to make Terry because I think you misunderstood me. When I say switch between both I mean a mental switch in focus not devices.

sorry jack, I prob did misunderstand you (stranger things have happened:D)

in any case, I hope I can turn it around (with your ok on it) to 'just latch on to a point of yours to make another relevant one'?

I hope I did not offend you, and hope you also agree with the point regardless.

cheers
 

JackD201

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Actually, I do agree in large part to your point. For some things fast switching is the best way to go I just don't think it is the best way to go for everything such as my example where the qualitative assessment is being done on a system or component rather than comparing it with another.
 

Phelonious Ponk

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it used to happen to me at the dealers, and ive bought based on my inital gut feelings -- rookie move -- i learned quickly not to trust 'first' listening impressions. the opposite can be true too, i remember have weekend-long nearly non-stop listening sessions cleaning records, play grading them, over and over again. by Sunday night im convinced my system is sh!t and i want to start over making wholesale changes with my gear (listener fatigue). :eek:

Listener fatigue or you heard everything that was wrong with a couple of hundred records. I find the opposite. Given enough time to listen to something, I'll acclimate to it and stop hearing its flaws.

Tim

Tim
 

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