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Insights Into Sensory Integration, Sound Localization, and the Neuroscience of Thought

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we are discussing 2 different things:
one is the assessment of the fidelity of a system, for that is better to be blinded.
The other is the experience of the magic of music, for that you can add any bias of your wish.
The audio hobby is somewhat similar to cooking. You can research, analyze, experiment and test different systems, tweaks and or updates to sometimes produce better personal results (ie the Taste). You can measure the amended system with REW or other software, look at the response and then listen to it to assess its emotional impact. It's Fun! This is also a personal journey that other Audiophiles may not agree with but that does not matter.
 
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Have you watched the video interview? I don’t believe that the studies included how the brain would react in “involuntary” situations.
Most of the content of the podcast concerned the coordinated, automatic responses among sensory systems. They are involuntary, such as the response of the muscles in the middle ear to eye movement.

The distinction I was making was that, when blinded, preferences in audio are consistent because they rely on deeper biological, involuntary reactions. When sighted, cognitive integration allows voluntary behaviour to dominate. You may have proclivity to particular sound equipment because it was important in your personal history in some manner, and that proclivity may be front and center when you are allowed full context, but it disappears when the circumstances are reduced to controlled performance evaluations alone.
 
Most of the content of the podcast concerned the coordinated, automatic responses among sensory systems. They are involuntary, such as the response of the muscles in the middle ear to eye movement.

The distinction I was making was that, when blinded, preferences in audio are consistent because they rely on deeper biological, involuntary reactions. When sighted, cognitive integration allows voluntary behaviour to dominate. You may have proclivity to particular sound equipment because it was important in your personal history in some manner, and that proclivity may be front and center when you are allowed full context, but it disappears when the circumstances are reduced to controlled performance evaluations alone.
I missed that distinction when I watched the interview. Thanks for pointing it out. Really appreciated. I'll experiment over the next week by listening to my system with my eyes open and then closing them to evaluate the difference.
 
I missed that distinction when I watched the interview. Thanks for pointing it out. Really appreciated. I'll experiment over the next week by listening to my system with my eyes open and then closing them to evaluate the difference.
I want to make sure it's clear that by "blinded" I'm referring to an experimentally controlled setting, not simply having one's eyes closed.

The goal is to evaluate sound alone. I recommend the lecture by Toole that was pinned by @RickS if you are not familiar.
 
I believe that most Audiophiles will agree that bass is very important. Now I would like to point out the underlying source, our emotional reaction from the brain.

Perplexity (Edited)

“Floyd Toole emphasizes that bass is a dominant factor in determining overall sound quality when listening to speakers, attributing about 30% of a listener’s judgment of sound quality to bass performance, which includes both extension and smoothness. Toole’s research shows a strong correlation between the preference for a loudspeaker and its ability to reproduce low frequencies effectively. He notes that if bass is neglected in the setup and choice of speakers, the overall listening experience suffers significantly.

Dr Groh in the interview states that bass sounds play a critical role in music, emotion, and collective experiences. When discussing group actions like coordinated stomping, chanting, or military music, she theorizes that rhythm and bass enable humans to act in concert and create displays of unity, loudness, and emotional intensity that are more powerful than any individual's effort alone. She refers to cultural phenomena like New Zealand's haka and military music to demonstrate how bass and rhythm impact group dynamics and emotional signaling.”

In conclusion we can understand why bass and subwoofers play an important part in our emotional sound experience.
 
Today I want to discuss how an Audiophile can evaluate speakers in a Surround Sound situation with input from Floyd Toole and Dr Groh.

ChatGPT (Edited)

"I’ve been thinking about the intersection between Floyd Toole’s loudspeaker research and some of the points raised in the recent Huberman interview with Dr. Jennifer Groh. Groh discusses how the auditory system naturally processes sounds from multiple locations simultaneously. This raised an interesting question for me:

If speakers do not meet Toole’s criteria for accuracy, but still produce a strong emotional experience in a surround-sound demo, is there still a justification for choosing the Toole-approved speakers?

After looking closely at both perspectives, here’s how I see it.

1. What Dr. Groh’s work shows

Her research explains how the brain is designed to analyze complex auditory scenes—multiple sources in different spatial locations. The auditory system integrates timing differences, level differences, spectral cues, and reflections to form a spatial map. So the brain is perfectly capable of handling multi-source playback.

But this relates to perception, not to evaluating the accuracy of a loudspeaker.

2. What Toole’s criteria predict

Toole’s controlled blind-test research shows that listeners—ordinary and trained—strongly prefer speakers that measure well:
  • Flat and smooth on-axis response​
  • Smooth off-axis response​
  • Predictable, consistent directivity​
  • Low distortion​
  • Matched performance across units​
These characteristics hold up even when people are listening casually or “emotionally.”
Accurate speakers tend to be preferred more often, across rooms and listening scenarios.

3. Why surround demos can mislead

In a multi-speaker surround environment:
  • Spatial cues dominate perception
  • Speaker–speaker interactions mask tonal flaws
  • Room acoustics multiply
  • Emotional engagement increases due to immersion, not accuracy
A speaker that fails Toole’s metrics can still sound exciting or enveloping when combined with other speakers and room effects. But that impression doesn’t reflect the quality of the speaker itself.

This is why Toole emphasizes single-speaker evaluation:
  • otherwise you cannot attribute what you hear to that specific speaker.

4. A common claim:
  • “My speakers sound better in my surround setup.”
This is something we see often:
  • Listeners using objectively poor-performing speakers sometimes report that they sound better in their 5.1 or Atmos setup than speakers that meet Toole’s criteria.
From a perceptual standpoint, this is completely understandable.

Surround playback can:
  • Add a sense of envelopment that masks coloration
  • Increase apparent clarity via directional cues
  • Distract from frequency response irregularities
  • Create an emotional impact that overrides tonal accuracy
The result can feel superior even when the underlying speaker is objectively inferior.

But again, this is due to the system, the room, and spatial effects, not the speaker’s inherent acoustic quality.

5. Should you still choose the Toole-approved speakers?

It depends on your goal:

If the goal is: accuracy, neutrality, predictability, and long-term consistency
→ Yes, there’s strong justification for choosing speakers that meet Toole’s criteria.
They provide reliable performance across rooms, content types, and listening positions, and maintain timbral consistency across all channels in a multichannel system.

If the goal is: maximum emotional impact in a specific surround setup
→ Then you may prefer non-Toole-compliant speakers, even if they measure poorly.
But that preference is heavily dependent on the particular room and multi-speaker interaction, and often doesn’t generalize outside that context.

6. Bottom line

Toole’s work answers:
  • Which loudspeakers will most listeners prefer when evaluated fairly and in isolation?

Groh’s work answers:
  • How does the brain naturally interpret complex, multi-source auditory environments?

Both are true.
Groh explains how we perceive complex soundscapes.
Toole explains how to evaluate loudspeakers accurately.

So even if some listeners claim their poor-measuring speakers sound better in their surround setup, this doesn’t contradict Toole’s research. It simply reflects how immersion and spatial cues can overshadow timbral accuracy.

There remains strong justification for choosing speakers that meet Toole’s criteria if the goal is accurate, reliable reproduction."
 
It’s been about 5 days now since I watched the interview between Huberman and Dr. Groh. I checked and it now has over 91k views. As mentioned by Dr Groh in that interview sound can create a very strong emotional response for listeners. When that is happening however with our speaker system, it likely no longer meets the ideal response curve recommended by Floyd Toole. There maybe situations when we are watching a movie and want that emotional response however. What if we had an opportunity to have both options available.

For this suggestion I’m going to use the ARC Genesis application offered by Anthem, Paradigm and Martin Logan for the setup.

ChatGPT (Edited)

“ARC Genesis allows users to create multiple correction profiles from the same measurement data. An audiophile could easily generate two separate DSP (ARC) files:

1 A “Toole-aligned” profile
Designed to bring the in-room response of their speakers closer to Toole’s recommended target characteristics:
◦ Flat, neutral midrange
◦ Smooth bass integration
◦ Gentle target-curve tilt
◦ Minimal seat-to-seat variance
◦ Limited high-frequency correction to preserve speaker characteristics

2 A “subjective/emotional” profile
Using the same measurements but a different target curve optimized for what Dr. Groh described as increased emotional engagement:
◦ Slightly elevated bass for warmth
◦ Reduced harshness in the upper mids if desired
◦ Gentle HF roll-off
◦ A contour that some listeners find more immersive or emotionally involving

ARC processors can store multiple profiles and allow switching between them instantly. This makes it possible for listeners to compare:
• A profile aligned with objective preference research
vs.
• A profile tailored for subjective emotional impact
—without changing any hardware, rewiring, or re-measuring the system.

For anyone trying to bridge Toole’s findings with real-world listening preference—or to explore Dr. Groh’s comments about emotional response—ARC offers a repeatable and measurable way to do it.”

As mentioned previously I have been enjoying this Audio hobby for many years. Making changes to the system and assessing the benefits is fun. In addition it offers the opportunity to continue learning. After watching that interview, I look at my response to sound now from a different perspective. The above suggestion now offers the opportunity to tweak the system and use my ears as the microphone.
 
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This is the same as how I feel. When I climb to the top of a mountain and listen to songs with AirPods, the singing seems to come from the horizon, which is a completely different experience from listening at home. The sense of spaciousness brought by listening to songs on the top of the mountain is far more than upgrading equipment at ten times the price. :)

So if you want a better listening experience with headphones, go outdoors into nature.
 
Please stop foisting ChatGPT 'insights', into these threads.
My intentions when posting on any Audio Forum are usually to share information with other forum members that I believe is informative. It’s unfortunate that you and two other forum members interpreted the deleted post as “foisting”. Please accept my apologies!
 
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The problem with AI-generated summary content is that it often contains errors.
I actually spent almost one hour this afternoon listening to a presentation by Floyd Toole, to find his comments about direct and reflected sounds, in addition to listening again to Dr Groh's comments with Andrew Huberman, before drafting that deleted post.

And yes I have found errors in AI generated information, so I always review and investigate before using it.

My apology was offered because my post appeared to upset you and two other forum members. I did not envision that reaction.
 
Guess I missed the part where you told us you'd reviewed and investigated the ChatGPT summary, before posting it.
 
Guess I missed the part where you told us you'd reviewed and investigated the ChatGPT summary, before posting it.
On Nov 12th I posted above to this thread: “For complicated topics such as this one (Huberman interview with Dr. Groh) I use various AI engines (ChatGPT, Perplexity & Gemini) to first research and analyze the material. Once I'm satisfied that there are no material errors, I will request one of the AI engines to prepare a draft response. I review the draft, edit it and then use the final version”. I would not expect you to have read that. If you have the time watch the interview between Dr Groh and Huberman. Just focus on the sections where Dr Groh talks about sound from her studies. As of today over 112k views have been recorded for that interview.
 
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Concert halls have lots of reverb and reflected sounds. And the angle-width of the stage is narrower than at home. I've wondered if we can audibly locate the instruments and if I ever hear a live symphony again I plan on closing my eyes to see if I can locate them, although I can't "forget" where the different sections are so I might fool myself...
My experience is that in a hall with good acoustics if you sit near BBC traditional mic placement (coincident pair, middle, a few metres back, though above seating level) you can place instruments, though not as pinpoint as with a good stereo system. In the Royal Opera House, an older hall with the orchestra in the pit, you really don't notice though you might notice which side of the stage a singer is. And yet in some operas the orchestra plays a large role in the enoyment of the music.

What I never get with live music is fatigue. I speculate fatigue and soundstage quality may be linked because aural fatigue is something I experience with many stereos but less with mono. Fatigue is typically associated with higher frequencies, even when THD is said to be below audibility threshold. Fatigue is real but apparently not correlated with mearurements, presumably because one has to listen for a while before it sets in, so tough to check in A/B tests.

When someone says they don't like opera because sopranos warble or screech I ask which operas they have seen, becuase they usually mean they don't like recordings of opera and have little or no knowledege of what a star soprano sounds like live. This is an example of aural fatigue typically produced by recorded music. Whenever I am London I try to go to the opera house but have little interest in recorded operas. Fatigue is not the only reason, it is the whole experience. But aural fatigue is one reason for avoiding recorded operas, though fatigue is less of a problem on youtube, played on a laptop.

If audio science could identify and measure whtaever it is that causes some listeners fatigue on playback but not live music, that would be useful.
 
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My experience is that in a hall with good acoustics if you sit near BBC traditional mic placement (coincident pair, middle, a few metres back, though above seating level) you can place instruments, though not as pinpoint as with a good stereo system. In the Royal Opera House, an older hall with the orchestra in the pit, you really don't notice though you might notice which side of the stage a singer is. And yet in some operas the orchestra plays a large role in the enoyment of the music.

What I never get with live music is fatigue. I speculate fatigue and soundstage quality may be linked because aural fatigue is something I experience with many stereos but less with mono. Fatigue is typically associated with higher frequencies, even when THD is said to be below audibility threshold. Fatigue is real but apparently not correlated with mearurements, presumably because one has to listen for a while before it sets in, so tough to check in A/B tests.

When someone says they don't like opera because sopranos warble or screech I ask which operas they have seen, becuase they usually mean they don't like recordings of opera and have little or no knowledege of what a star soprano sounds like live. This is an example of aural fatigue typically produced by recorded music. Whenever I am London I try to go to the opera house but have little interest in recorded operas. Fatigue is not the only reason, it is the whole experience. But aural fatigue is one reason for avoiding recorded operas, though fatigue is less of a problem on youtube, played on a laptop.

If audio science could identify and measure whtaever it is that causes some listeners fatigue on playback but not live music, that would be useful.
Since you experience no listening fatigue during live opera but find recorded opera painful to listen to, the issue may stem from the amplifier or speakers in your playback system. Floyd Toole has noted that AES standard measurements are an effective way to evaluate playback accuracy, and most audiophiles agree that when a speaker meets these AES criteria, it can reproduce the closest possible copy of the original sound from the concert hall or recording studio. Why don’t you look for opportunities to listen to your favourite opera recordings at a friends home or at an Audio Shop where the speakers have been measured and the results were positive.
 
Since you experience no listening fatigue during live opera but find recorded opera painful to listen to, the issue may stem from the amplifier or speakers in your playback system. Floyd Toole has noted that AES standard measurements are an effective way to evaluate playback accuracy, and most audiophiles agree that when a speaker meets these AES criteria, it can reproduce the closest possible copy of the original sound from the concert hall or recording studio. Why don’t you look for opportunities to listen to your favourite opera recordings at a friends home or at an Audio Shop where the speakers have been measured and the results were positive.
Surely great speakers are available, partly thanks to the Floyd Toole's work, to those for whom neither money nor wife-acceptance are limiting factors. And surely they can make an operatic soprano sound far better than they do on most systems. The closest possible *with current technology*. Or is it more than that?

I will never forget the thrilling, hair-raising moment in the Bastille opera house where Netrebko's voice seemed to ring, disembodied, suspended somewhere in the high ceiling of the auditorium, far from where she stood. If Dr Toole put an opera singer and a loudspeaker on stage and asked blindfolded listeners to say which is which, would there be statistically significant evidence that they could be told apart? And if so, would that have revealed areas of audio science which measurements have not yet captured?

On the fatigue question, I tried to find out whether Dr Toole's work is helpful in answering it . His papers seem to be slient on how long each sample in his tests was heard, so it is unclear whether he would have found the evidence if listeners who thought two samples identical become more fatigued with one than other after half an hour.
 
Surely great speakers are available, partly thanks to the Floyd Toole's work, to those for whom neither money nor wife-acceptance are limiting factors. And surely they can make an operatic soprano sound far better than they do on most systems. The closest possible *with current technology*. Or is it more than that?

I will never forget the thrilling, hair-raising moment in the Bastille opera house where Netrebko's voice seemed to ring, disembodied, suspended somewhere in the high ceiling of the auditorium, far from where she stood. If Dr Toole put an opera singer and a loudspeaker on stage and asked blindfolded listeners to say which is which, would there be statistically significant evidence that they could be told apart? And if so, would that have revealed areas of audio science which measurements have not yet captured?

On the fatigue question, I tried to find out whether Dr Toole's work is helpful in answering it . His papers seem to be slient on how long each sample in his tests was heard, so it is unclear whether he would have found the evidence if listeners who thought two samples identical become more fatigued with one than other after half an hour.
The Bastille Opera House uses Fohhn’s Focus Modular columns, which are self-powered, beam-steered column/line-array elements that stack dedicated high-frequency and low-mid modules into a very slim, straight vertical array. These systems use compression drivers that load into internal waveguides rather than the visible horn flares found in typical point-source loudspeakers.

Some audiophile reviewers have said they cannot go back to conventional loudspeakers after hearing systems built around compression drivers and horns. Based on the additional information you provided about your experience at the Bastille Opera House, I would suggest finding an opportunity to demo a pair of Klipsch speakers, as they also use compression-driver horn designs. If you search for discussions about Klipsch on ASR, you’ll likely find which models are the most highly regarded.

Let us know after the demo if this option can work for you at home.
 
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