Here's my curated review of the last 15 or 20 pages for those who are trying to catch up:
I understand your point, but in my case I dont hear differences between the Hidisz dongle and the headphone output of my Marantz receiver.
So it looks to me that I am the opposite of a subjectivist audiophile: they think they hear differences where there aren't, while I don't hear differences where there should be.
If you don't hear a difference, there's nothing you have to prove to anybody. Controlled subjective testing such as blind ABX testing demonstrates that the difference one perceives can be demonstrated with repeatability. If one doesn't perceive a difference, proving that is a waste of time. Everyone has different thresholds of perception, though most are not near as sensitive as they think they are.
Distortion is almost surely fine at -60 db or less especially with music. Noise needs to be lower. SINAD combines noise and distortion. So -60 db SINAD being good enough depends upon how much of that is noise. OTOH, if you get SINAD down to -100 db or lower then both noise and distortion are low enough to be of no concern in nearly all circumstances.
I don't agree with all this. I think basic standards should be for young people of good hearing. We don't need specs for 60+ years old. I also don't believe you can hear -80 db distortions. The tests done on that are with a test tone at the frequencies where we are most sensitive to hearing which show -60 db. You'll not get that with music no matter any training you have. If there are any people who can do it with a test tone it will be a tiny portion of people in the world. I actually doubt there are such people until shown otherwise. I'm speaking of distortion here not SINAD. Noise will need to be -80 or -90 db or more depending upon particulars. Also there is a sweet spot for hearing distortion in humans so no younger people won't hear better because they can play louder. Our ears themselves begin to distort somewhere around 75 or 80 db or louder. Eventually around 110 or 120 db and above the air distorts at a level above minimum air SPL. Distortion unless really horrible isn't much of an issue. Noise can be, but increasingly that is not either.
Now yes for any particular thing you don't believe you can test yourself to prove it to yourself or to other people.
Just a note: Phillips originally planned on digital being 14 bit as after much study they found no reason for more in music distribution. Sony once partnered on the CD introduction insisted on 16 bit partly because 8 bit increments made more sense.
Yes. But we should distinguish between source components at final amplifiers. The signals from final amps are not further amplified, so as long as the distortion products (which only occur when the music is playing) are lower than what we can detect, we've achieve all we can with respect to distortion. For me, that's probably no more demanding than -40 dB for harmonic distortion. Intermodulation distortion is probably a bit more demanding, maybe -50 dB.
Noise happens when the music isn't playing, and that's why it is more noticeable. But for final amps, if my listening environment has an ambient noise level of, say, 38 dB SPL (which is what I have measured on a quiet evening), and I'm listening to music loudly with the average signal around 90 dB SPL (which is LOUD, especially for dynamic music), the -60 dB noise in the electronics will be sitting around 30 dB SPL in the room and will be masked by all those little computer fans, air handlers, wind against the windows, and so on. And if the clothes dryer is running or the Redhead is taking a shower or washing dishes, forget hearing noise from just about any amp.
(And let's not forget that the amp's clean signal is going through speakers that we fantasize might be as good as 1% distortion, -40 dB, in the most hearing-sensitive range; worse in the lowest two octaves.)
But source components will get amplified by as much as 40 dB, depending on the component. Lots of old source components were designed for peak line-level output of 1V RMS or less. A line-stage preamp might increase that by maybe 10-15 dB, and the speaker amp another 25 dB, if both are being played at full capability (meaning: LOUD). My old TEAC open-reel tape deck has a nominal peak output of 400 mV, not nearly the signal put out by a standard CD player at 2V. But even 2V gets amplified significantly on its way to speakers. So, a noise level in a source component of -80 dB may be -40 dB by the time it gets to the speakers, and in loud playing, might be noticeable in the quiet bits. So, we expect more from source components, which is fine because it's a lot easier for source components to be really clean.
There are threads that discuss audibility thresholds. Those who are higher than my numbers above have received special training, probably, and are using special listening techniques to find the distortion artifacts, or they are holding their ear to the tweeter and cranking up the gain to hear noise.
Listening to music is a personal and subjective adventure.
Yes--music is emotional and subjective. Designing electronics is not emotional and subjective, but follows well-known principles and objectives, whatever the rock-star designers or their advertising people may say. And measuring equipment faults is easy and will find effects far smaller than we can hear; those are the effects that if large enough will prevent that subjectively emotional art from reaching our ears.
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I agree that sighted listening is much less reliable than blind, but I've never found much correlation between expectation and result.
Bias doesn't always work in the way we expect, and that's what makes it impossible to filter out without careful controls. If bias was solely the result of conscious expectation, we could probably overcome that consciously in our listening. But our "heart of hearts" knows things our conscious brains haven't articulated, and often has the opposite expectation that we consciously believe we are bringing to the scenario. You expect your biases to be reasonable (even stating there's "no reason" to have a certain bias), but your heart of hearts eschews reason whether you want it to or not.
in my opinion, and it is just that, science can only go so far. There needs to be room for subjective evaluation as well. Science cannot explain everything.
There's nothing wrong with subjective evaluation. But without controls, it is not instructive for others. Just because you like something doesn't mean I or anyone else will or should like it.
Of course, the notion that we can hear something we can't measure has been rebutted effectively a thousand times in this long thread alone. But it is true that science cannot explain why you or I might like something, though it can certainly measure empirically and statistically whether our preferences fit within some larger population of preferences.
Most of the time, though, this statement is used to justify preferring something over something else when any real science (e.g. controlled subjective testing) would reveal that the person asserting that preference can't actually hear the difference reliably depending only on their ears.
What if it measures well, but you don't like the sound Keith?
Maybe you've trained yourself to prefer certain colorations and distortions. The victim of that training isn't you--you like what you like--but the artist whose work you have altered without their permission and others who believe reviews and advice based on similar training. The artist may not care, of course. But the authoritative transference of one person's preference for colorations and distortions to others causes a drift away from high fidelity as it moves away from ground truth. Even the most innocent preference in opposition to measured fidelity, if not rigorously disclosed as such, eventually leads to ridiculous tweaks, because the principles that make them ridiculous had to be rejected even to justify that first innocent preference.
The thing that always puzzles me about ‘measurements are not everything’ is, if measurements don’t tell you everything, then how the heck do you know which part of your design is doing what?
Do designers just throw everything in a box and hope and pray it ‘sounds’ good? Surely there are electrical principles that need following? How were these electrical principles founded? By listening? Or measuring?
For instance, you always hear some bollocks about Naim amps having PRaT. If you can’t measure PrAT (which they seem to say you can’t), how the hell does the designer know which component or design to utilise to insert said PrAT?
Makes no sense to me
Yes. This is a point I and others have made repeatedly. Either rock-star designers know what measurements they want or their products are happy though unrepeatable accidents. That the rock-star designer listens to each component to select just the right one based on their hearing is both unrealistic and unscalable, but it sure makes their product sound like a craft product instead of a manufactured product. That allows them to add a digit or two to the price. Of course, they became rock stars in the first place on the basis of one ground-breaking product, and their subsequent work identifies clearly enough whether they really knew design or were just lucky. But by that time they are rock stars, and for some that credential alone will be enough to dominate their decisions. High fidelity then moves away from fidelity towards personality cults, and I say that in full recognition of my own high regard for the greats of our industry, even when their best stuff was just a happy accident.
Rick "bored today" Denney