Sound liners? Making terms up now? Resister tempco is well known, so what. Why add useless links. Those audiphool rags say everthing makes a difference so total bs, and that infamous Essex Echo paper has been debunked so many times that its also useless.
Did you try KSTR's blind cable test? That might help your case.
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No, my reference to aural synestesia is not a joke. A person with synestesia has their senses "interconnected", so they may see sounds as colours.
Many years ago, BBC Radio 4 did a programme about this. They had a woman who saw sounds as colours. A particular piece of choral music was agreed upon as the test, and the programme makers arranged for a very experienced group of session musicians to make an exact copy of the piece. They played the recorded piece to a group of "golden eared reviewers", and none could spot any difference.
They then played the copy of the piece to said synestesia person, and she pulled them up on the first chord. "That is wrong, the chord should be orange, but that has a blue fringe".
Many years ago, BBC Radio 4 did a programme about this. They had a woman who saw sounds as colours. A particular piece of choral music was agreed upon as the test, and the programme makers arranged for a very experienced group of session musicians to make an exact copy of the piece. They played the recorded piece to a group of "golden eared reviewers", and none could spot any difference.
They then played the copy of the piece to said synestesia person, and she pulled them up on the first chord. "That is wrong, the chord should be orange, but that has a blue fringe".
What had they changed? And could she do this consistantly with different small changes? These docs sometimes find one example and run with it.
That's something I recently thought of regarding "break-in" of audio components. Is the 100 Hrs really changing something about the part, or is it changing something about you?
Or even worse, it's both! Inextricably convoluted - only you can go back, the part cant - unless it perhaps hasnt had any electricity in it for a long while
Electronics age, fail and change according to a curve which has the shape of an elongated U, it is indisputable.
Big change in the beginning, a long period of stable function and big change at the end of the life of the device/component.
But will also believe the listener get used to the sound, so yes to both.
thor2,
Circuit topology, device choice, biasing, power supply quality are of central importance, precision is not. Measuring dynamic parameters is voodoo practice.
Material constitution decisively determines the signal development otherwise we are in the metaphysical realm of spiritualism. The keywords are density, homogeneity and resistance.
Good quality audio cables are made of surface plated, multi-strand, homogenous, oxygen-free copper and some suitable dielectric material such as teflon. Avoid silver. Far from everything is reproduced and what is not reproduced is normally not hearable. To get good value, cable quality needs to be on par with overall system quality.
Why the need for the null test?
The audio branch does not have a dedicated theory just a hodgepodge of imported ideas mostly derived from industrial marketing pamphlets. What is bothering you the most?
Circuit topology, device choice, biasing, power supply quality are of central importance, precision is not. Measuring dynamic parameters is voodoo practice.
Material constitution decisively determines the signal development otherwise we are in the metaphysical realm of spiritualism. The keywords are density, homogeneity and resistance.
Good quality audio cables are made of surface plated, multi-strand, homogenous, oxygen-free copper and some suitable dielectric material such as teflon. Avoid silver. Far from everything is reproduced and what is not reproduced is normally not hearable. To get good value, cable quality needs to be on par with overall system quality.
Why the need for the null test?
The audio branch does not have a dedicated theory just a hodgepodge of imported ideas mostly derived from industrial marketing pamphlets. What is bothering you the most?
Is in doubt whether you understand the thread's question/intention.
Also in doubt if you have built a hi-fi device from scratch.
If you have you will know that engineer knowledge theory simulation calculation etc. will only ensure that the design works within the set requirements specifications/a data sheet, which describes precision function and reliability in relation to the environment.
This is also sufficient for 99% of all electronics.
The exception is i.a. Hi-fi and to some extent image reproduction.
Only your own or others' listening experiences can give you a idea of how a construction on the drawing board will sound, if you have no listening experience you will not be able to say how something sounds until you have actually heard it.
What Ethan Winer's Null test tells is that what I have written above is BS for i.a. Cables.
Because the Null test tells us that there is no sound difference between a $ 3 cable and a $ 300 cable, in general there is no sound difference between cables when they are constructed sensibly.
I disagree, my listening experiences say otherwise.
But as a technician, I recognize Ethan Winer's electrical augment.
That's the discussion in a nutshell.
Ps. I see cables as an expression of pretty much all electronics, cables are just always what is mentioned because everyone can change and buy cables.
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Are you sure hi-fi audio replay is exception?
Again, one's anecdotal experience, also known as subjective impression, can be all over the place. You can listen to the same audio cable subjectively and perceive a difference. Just by moving your head little, you will hear a difference. Try it yourself. It's not an equivalent case to counter Ethan Winer's null test. Explanations on this have been given to you earlier on this thread.
Perhaps what's in doubt is your understanding of this subject.
Yes 100%.
Yes that's the problem, therefore the thread.
Let me make it clear the trueity I mention does not disappear because you moves your head a bit. not at all.
By my system, you can stand in the room's
doorway and hear and 'see' the same soundscape as in the sweet spot.
The thread is about why and how, because I can't measure it - I have no electronic theory.
I only have the logic that if microphones hear a soundscape and translate it into my speakers which put this sound without deterioration in my ear then I will hear the same as the microphones picked up during recording.
Oh yes of course I don't understand my own thread.
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Here is part of your problem. You can't build a room that does not affect you speakers performance. This is just pure fact for normal rooms. So somewhere you are at fault with your theory.
What type of microphone - mono/omni/stereo...??
After you record something with a microphone - you process the information - just like your ears and brain - but still different. Hopefully you understand this.
Clearly you do not understand everything about what you write about your own subject - since you ask everyone else
You should add who you are quoting.
The thread is about the knowledge that explains the concept of sound signature in components / cables / devices does not exist.
That knowledge can only for the most part be acquired through listening experience.
I can not technically prove that Ethan Winers null test is BS and it annoys me as an electronics technician.
Also sure it annoys Paul Mcgowan from PS Audio.
In addition, I am personally very curious about what the explanation for sound signature is and I am sure that I am far from the only one who feels this way.
My Hope was that the thread could bring me and others closer to an explanation.
The thread has actually given inspiration Indra1 input that measurements should be made on what hits the ears (and brain), works as a way.
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In your opinion, of course.
Perhaps your ears can't detect it. If you have a microphone and frequency response generator, play a tone or album of your choice and move it between sweet spot and the doorway just like you did before. You will see a difference in frequency response. Try it.
Once you try the above experiment, you will be convinced that the modern sound measuring device can detect what you cannot discern with your hearing.
What digitalthor said.
I can see the annoyance from frustration when repeated explanations have been give but still not seeing any progress.
You don't want to take him seriously. He is one of the biggest snake oil peddlers in audio business.
One of the most common reasons for people perceiving cable sound difference is called placebo effect. The other one is aural memory fade. If you are not sure what they are or what they do, look it up on Google.
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