Here is a thought lake it out of his room and forbid him to listen to that devil music (what ever that is ? ) .
A good idea, but it's too late for that, he lives on his own now.
My last hope is that he might find a girl who loves music, and that might bring him back into the fold.
If I was sitting in 1-3 row center, probably not.
There, the tympani is a physical experience. But at the back of the hall, to the right, it's just a sound.
Also, depends which hall we are talking about, they are hardly all the same. The best ever acoustics I have ever experienced, not just heard, was the cathedral in Ulm, Germany. Hearing organ pipes there is a life changing experience, or was for me. I was 16 at the time (1969).
This statement is worth repeating and amplification; I couldn't agree more. The ear-brain system is highly variable, prone to be influenced by the other senses, and lacks detailed memory. All this can be trained to perform to higher standards, but it remains fairly crude.
Therefore, measure first, then ABX, before concluding two components or whatever sound differently. With the caveat that differences typically can be measured long before they become discernable by ear.
In his Linear Audio article, Richard Burwen made the point that in a listening session, even the placement of one's glass (empty or not) on the table in front of you may lead to audible differences, even the more so if one is well trained to pick such things up.
I fully agree with Demian's assesment.
Jan
I fully agree with Demian's assesment.
Jan
Agreed . However in most of these test two question are consolidated by the testers. That is it different and the judgement call of which is better. The question of what is the goal of this equipment is more important to me . Does it transmit the emotion of the music the maker intended ? Which in some cases runs contra to -100db resistor noise phobia of some.
Agreed . However in most of these test two question are consolidated by the testers. That is it different and the judgement call of which is better. The question of what is the goal of this equipment is more important to me . Does it transmit the emotion of the music the maker intended ? Which in some cases runs contra to -100db resistor noise phobia of some.
My experience is that the 'transmission of emotion' has almost no relation to the quality of the reproduction equipment. The parameters seem to be whether you have some emotional rapport with the music, and the musical interpretation of the performers.
I can easily get moved by music that touches me, heard on the kitchen radio. Or on the Bose Waveradio, for that matter.
jan
Yes, in fact the coffee table itself has a big effect, due to the reflections off the surface sent to your ears. Try covering it with a wool rug, or removing it altogether.
The issue brought up ... what does music really sound like or how do you know when it is different all over a hall, is a bogus question. Clearly, we can learn what musical instruments really sound like.... a lot of music is played in a small group and setting... recitals... chamber music... where you can be up close and personal with the music.
Learning to play a musical instrument is another way to know... and even if there is a glass in the room causing small audible reflection, you will still know the sound of the instrument you are playing and if you are playing it well. Does it matter to the music instructor where he/she is in the room and what the reflections in the room do? Not really. learning what an instrument really sounds like helps a lot in determining how good your playback gear is and how good the recording is and how good the room/speaker is etc.
THx-RNMarsh
Learning to play a musical instrument is another way to know... and even if there is a glass in the room causing small audible reflection, you will still know the sound of the instrument you are playing and if you are playing it well. Does it matter to the music instructor where he/she is in the room and what the reflections in the room do? Not really. learning what an instrument really sounds like helps a lot in determining how good your playback gear is and how good the recording is and how good the room/speaker is etc.
THx-RNMarsh
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Exactly. The closer you are, the less the effects of the room's acoustics.
Richard,
Yes your correct that there are places we can listen to live acoustic instruments and learn what they sound like. At the same time it is like telling one guitarist that he doesn't tune his guitar the same as someone else, where do you make any ultimate judgements on a subject such as this, every guitar player would know they don't all sound the same. I would say that is the case with any wooden instrument though you can understand the basic sound you should hear. Perhaps with a metallic horn things are less varied but the player themselves will tickle the valves differently and breath their own types of sounds.
Then we get the simple statement about the coffee table messing with the sound. Well we all have different room sizes, layout and even how the room is furnished. I know we will never have a standard for that and I don't think we need one. it gets to the absurd, there is no one way to get it right. As Jan was saying if you can enjoy the music do it, forget all the technical arguments when it is time to listen, otherwise all you are doing is being an analyst looking for technical issues. That time is for when the equipment is being designed and not for the time you want to just enjoy the music. At some point you have to turn off the technical discussions about what is right or correct and enjoy what you have. If something is so wrong that it takes away from the enjoyment of the music that is the time to figure out what is wrong where.
Yes your correct that there are places we can listen to live acoustic instruments and learn what they sound like. At the same time it is like telling one guitarist that he doesn't tune his guitar the same as someone else, where do you make any ultimate judgements on a subject such as this, every guitar player would know they don't all sound the same. I would say that is the case with any wooden instrument though you can understand the basic sound you should hear. Perhaps with a metallic horn things are less varied but the player themselves will tickle the valves differently and breath their own types of sounds.
Then we get the simple statement about the coffee table messing with the sound. Well we all have different room sizes, layout and even how the room is furnished. I know we will never have a standard for that and I don't think we need one. it gets to the absurd, there is no one way to get it right. As Jan was saying if you can enjoy the music do it, forget all the technical arguments when it is time to listen, otherwise all you are doing is being an analyst looking for technical issues. That time is for when the equipment is being designed and not for the time you want to just enjoy the music. At some point you have to turn off the technical discussions about what is right or correct and enjoy what you have. If something is so wrong that it takes away from the enjoyment of the music that is the time to figure out what is wrong where.
In my experience... one can tell the difference between playing styles, mistakes, tuning, makes and models of instruments etc ... there is an intrinsic sound to 'real' instruments.
I have no trouble with my ability to separate listening pleasure and designing 'neutral' or low distortion gear.... maybe why I show 50-50 on left-right brain usage? They are separate but over-lapping issues.... just design the most neutral reproduction gear you can.... leave the rest up to the musicians/producers.
THx-RNMarsh
I have no trouble with my ability to separate listening pleasure and designing 'neutral' or low distortion gear.... maybe why I show 50-50 on left-right brain usage? They are separate but over-lapping issues.... just design the most neutral reproduction gear you can.... leave the rest up to the musicians/producers.
THx-RNMarsh
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In my wild and misspent youth, I banged on some drums. This taught me how a drum kit should sound, but also brought me some grief, because I was always being accused of demanding too much from loudspeakers when auditioning with other people.
Anway, I gave up the drums, and the guy I was accompanying went on to become the greatest local rock star of all time. Still very active roday.
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