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Hi-Fi racks - still a thing

The energy dispersal thing is interesting; I used to work at a Company which made Laser Scanning Microscopes.

They contained, amongst other things, spinning discs; they were always on absolute FO heavy isolation tables looking a bit like Oil rigs - Air filled damping valves were the interface to a relatively light but strong structure upon which sat the ‘kin heavy multilayer, multi-material breadboard, microscope on that. If you didn’t touch it the image was rock solid, a small bump and it was wobbling about till it settled

I’ve lost the reason I thought to post this but ‘insert shrugged shoulders emoji’ ;)
 
The fact that they went to such lengths instead of just putting them on something massive is pertinent, though it may annoy some. Mind you, a Laser Scanning Microscope is is not a CD player...
 
Not sure I’d go along with this. Most electronic equipment is microphonic to some degree, even if only a minuscule effect. But if that minuscule effect raises the noise floor by a few dB, which for noise at -110dB wouldn’t require much voltage at all, then even if the noise remains at sub-audible levels, it can have a detrimental effect in sound. This because some of the output of the amp, say, is applied to amplifying that noise rather than the signal. Noise doesn’t have to be audible in order to be parasitic and detrimental.
Can you link to any research that shows that the noise floor of solid state audio electronic equipment is adversely affected by microphony?
Thanks,
Keith
 
Anyone actually Interested may wish to consult the microphony thread (3 parts at least) from 2015 on which BE718 who really did understand the vibration issues, carried out a few tests to demonstrate that audio stands don’t do a whole lot either to the case of a solid state audio components or its output. In summary (with précis by yours truly)- of BE718s points.
1) most vibration coming from sound playing in a room comes through the air. if I have understood correctly, you can't stop that vibration using any stand.

2) You can't effectively stop vibration coming from the floor using a rigid stand.

3) you can't, using a rigid stand, drain from a component the vibration coming though the air or coming from the component itself .

4) solid state components are not really affected by vibration anyway, if they were it would be common knowledge in the design of pretty much all sensitive electronic equipment not just the ones with moving parts.

5) if they were affected in this way, and for other things which really are affected, like turntables and maybe valves, in order to isolate or reduce the effect of vibration you need a specific design strategy based on compliant coupling , damping and/or changes to the effective mass of the thing you are protecting which will have to be based on specific properties of the thing you are protecting and the frequencies of concern

6) stands which are not designed in this way can only have either no effect or at best a random effect as they might change the amount or quality of vibration coming through the floor, but not eliminate or probably reduce it. Most of the time they probably have little effect. However, even then, let's not forget 1)

And here's one of my own. if points 1) to 6) are correct then it seems to me that if you identify a particular stand (and certainly one not not designed as per 5)) having a particular sound with pretty much all equipment (perhaps to a greater of lesser extent) then your identification is unlikely to result from a genuine physically generated effect
The main amusement value of those old threads is the total inability of certain parties to understand the points. It would of course be pretty easy for a stand manufacturer to show the effect of inserting/ removing the stand on the output of a device if there were a measurable difference.
 
Anyone actually Interested may wish to consult the microphony thread (3 parts at least) from 2015 on which BE718 who really did understand the vibration issues, carried out a few tests to demonstrate that audio stands don’t do a whole lot either to the case of a solid state audio components or its output. In summary (with précis by yours truly)- of BE718s points.

The main amusement value of those old threads is the total inability of certain parties to understand the points. It would of course be pretty easy for a stand manufacturer to show the effect of inserting/ removing the stand on the output of a device if there were a measurable difference.

Ah, yes, plastic cups. I do remember.

We've moved on a bit from then to composite materials to include graphite, PEEK and acrylic, not chosen at random.

Of course, none of these guys actually conducted any trial-and-error experiments. They just relied on dogma, rhetoric and a lot of noise.

As for conducting more robust research, see the reasonably necessary test I alluded to above, as compared to aeronautics or the automotive industry.

The dogma of measurism lives on...
 
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i am new to the site but will try finding the BE718 stuff. However, if those comments are representative, it does seem to suggest that what we put hi-fis on is completely irrelevant to how they sound. Fortunately, we can use our ears to decide if that's true.

As @Steven Toy says, there have been lots of examples where current science told us lots about what was going on, but was not an adequate design tool because (to quote the genuinely 'scientific' Ben Goldacre) "I think you'll find it's a bit more complicated than that'. Apart from anything else, if amatueurs can consistently detect a difference between A & B when (the simplified version of) the science says it's impossible because there is no difference, then either they are cheating or the science is demonstrably incomplete.

The continuing discussion, and the apparent confusion about who is being dogmatic and unreasoning here, makes me think we should all break out copies of Popper's The Logic of Scientific Discovery and read again about why falsifiability is so important.

The science will get sorted, not least because processing power is almost free now, but in a real room this is fiendishly tricky & long-winded because you have to include everything, not just the bits that are easiest to model. Some of us are so old that we remember CD being 'proven' to offer 'perfect sound forever', and the era when almost no-one believed in speaker stands, so scepticism is unsurprising.

In the meantime, if people are happy with the sound when they put a (say) £20K hi-fi on the floor or a metal and glass display case inherited from their granny, I am pleased for them - why wouldn't I be?

On the other hand, the proportions are suspicious - whether people have £1K of £80K hi-fis, many have tried changing supports to improve sound. A remarkably high proportion of people in that group over the last 5 or 50 years report that they were successful to some extent or other, while many who say that it is all pure toot go on to say that this 'common sense' is the reason that they have never tried any of it. There are lots of variables here, but I'll let other people pick who sounds least scientific here.
 
Anyone actually Interested may wish to consult the microphony thread (3 parts at least) from 2015 on which BE718 who really did understand the vibration issues, carried out a few tests to demonstrate that audio stands don’t do a whole lot either to the case of a solid state audio components or its output. In summary (with précis by yours truly)- of BE718s points.

The main amusement value of those old threads is the total inability of certain parties to understand the points. It would of course be pretty easy for a stand manufacturer to show the effect of inserting/ removing the stand on the output of a device if there were a measurable difference.

What output? The analogue signal? The digital signal? The analogue noise accompanying a digital signal?
I presume you are of the “if it can’t be measured, it doesn’t exist” wing of the hifi enthusiasm spectrum. I’m not sure why anyone who actually hears an actual difference would go to the trouble and expense of measuring in order to satisfy those who already “know” a difference doesn’t exist!
 
i am new to the site but will try finding the BE718 stuff. However, if those comments are representative, it does seem to suggest that what we put hi-fis on is completely irrelevant to how they sound. Fortunately, we can use our ears to decide if that's true.

As @Steven Toy says, there have been lots of examples where current science told us lots about what was going on, but was not an adequate design tool because (to quote the genuinely 'scientific' Ben Goldacre) "I think you'll find it's a bit more complicated than that'. Apart from anything else, if amatueurs can consistently detect a difference between A & B when (the simplified version of) the science says it's impossible because there is no difference, then either they are cheating or the science is demonstrably incomplete.

The continuing discussion, and the apparent confusion about who is being dogmatic and unreasoning here, makes me think we should all break out copies of Popper's The Logic of Scientific Discovery and read again about why falsifiability is so important.

The science will get sorted, not least because processing power is almost free now, but in a real room this is fiendishly tricky & long-winded because you have to include everything, not just the bits that are easiest to model. Some of us are so old that we remember CD being 'proven' to offer 'perfect sound forever', and the era when almost no-one believed in speaker stands, so scepticism is unsurprising.

In the meantime, if people are happy with the sound when they put a (say) £20K hi-fi on the floor or a metal and glass display case inherited from their granny, I am pleased for them - why wouldn't I be?

On the other hand, the proportions are suspicious - whether people have £1K of £80K hi-fis, many have tried changing supports to improve sound. A remarkably high proportion of people in that group over the last 5 or 50 years report that they were successful to some extent or other, while many who say that it is all pure toot go on to say that this 'common sense' is the reason that they have never tried any of it. There are lots of variables here, but I'll let other people pick who sounds least scientific here.

Thanks as a fan of phenomenology I have to agree.
 
i am new to the site but will try finding the BE718 stuff. However, if those comments are representative, it does seem to suggest that what we put hi-fis on is completely irrelevant to how they sound. Fortunately, we can use our ears to decide if that's true.

As @Steven Toy says, there have been lots of examples where current science told us lots about what was going on, but was not an adequate design tool because (to quote the genuinely 'scientific' Ben Goldacre) "I think you'll find it's a bit more complicated than that'. Apart from anything else, if amatueurs can consistently detect a difference between A & B when (the simplified version of) the science says it's impossible because there is no difference, then either they are cheating or the science is demonstrably incomplete*.

The continuing discussion, and the apparent confusion about who is being dogmatic and unreasoning here, makes me think we should all break out copies of Popper's The Logic of Scientific Discovery and read again about why falsifiability is so important.

The science will get sorted, not least because processing power is almost free now, but in a real room this is fiendishly tricky & long-winded because you have to include everything, not just the bits that are easiest to model. Some of us are so old that we remember CD being 'proven' to offer 'perfect sound forever', and the era when almost no-one believed in speaker stands, so scepticism is unsurprising.

In the meantime, if people are happy with the sound when they put a (say) £20K hi-fi on the floor or a metal and glass display case inherited from their granny, I am pleased for them - why wouldn't I be?

On the other hand, the proportions are suspicious**- whether people have £1K of £80K hi-fis, many have tried changing supports to improve sound. A remarkably high proportion of people in that group** over the last 5 or 50 years report that they were successful** to some extent or other, while many who say that it is all pure toot go on to say that this 'common sense' is the reason that they have never tried any of it. There are lots of variables here, but I'll let other people pick who sounds least scientific here.
Unfortunately "sounding less scientific" is precisely the problem. Intuition is not a great guide, any more than general hand waving about the structure of scientific progress.
If you really are interested in this stuff- and to be honest very few people are- you need to looks at perceptual science to explain what constitutes evidence in this context. I'm pretty sure that Ben Goldacre, incidentally, does understand the issues. Probably why he laughed so hard about audiophile mains cables (which of course lots of audiophiles have "detected a difference" when using; why did Ben Goldacre not regard this as important experimental data?).

It would be a good idea at least to consider (very well understood and experimentally verifed ) basics of hearing human hearing and its limits which provide the link between (properly structured) subjective experimental testing and objective measurement data.
Anyway this is exciting stuff. Unfortunately it involve letting go of what you think you know.

* "Detect a difference" is the problem here. No really. Think about it.
** Oh boy you may need to consider the problems of self-selecting groups in experimental design. Not to mention confirmation bias both in the test subject and the experimenter especially when they are the same person.
 
Unfortunately "sounding less scientific" is precisely the problem. Intuition is not a great guide, any more than general hand waving about the structure of scientific progress.
If you really are interested in this stuff- and to be honest very few people are- you need to looks at perceptual science to explain what constitutes evidence in this context. I'm pretty sure that Ben Goldacre, incidentally, does understand the issues. Probably why he laughed so hard about audiophile mains cables (which of course lots of audiophiles have "detected a difference" when using; why did Ben Goldacre not regard this as important experimental data?).

It would be a good idea at least to consider (very well understood and experimentally verifed ) basics of hearing human hearing and its limits which provide the link between (properly structured) subjective experimental testing and objective measurement data.
Anyway this is exciting stuff. Unfortunately it involve letting go of what you think you know.

* "Detect a difference" is the problem here. No really. Think about it.
** Oh boy you may need to consider the problems of self-selecting groups in experimental design. Not to mention confirmation bias both in the test subject and the experimenter especially when they are the same person.

Unfortunately it involves letting go of what you think you know, So true in your case it seems
 
I’m hesitant about joining this thread because I doubt any good will come of it, but here I am anyway.

If someone makes a change to what their equipment is sitting on and reports a change that makes them happy that’s great and I certainly wouldn’t discourage experimentation. Ultimately it’s about what gives each of us the greatest enjoyment.

If anyone wants to pursue a scientific evaluation of what just happened it is, as quoted earlier, “a bit more complicated than that”.

How have we determined that there is a change in the sound? If it is just by listening, how do we eliminate expectation bias, poor audio memory, imagination, change of focus or other possible causes?

For example, if we are attempting to reduce vibrations reaching the component there is equipment to measure this. If we detect no difference, even with the most sensitive equipment and covering all frequency ranges, that’s fairly definitive unless we want to claim that the test equipment is not sufficiently sensitive or that maybe the change has nothing to do with vibrations after all but is still real. On the other hand, if a difference is detected all we can say is that this may translate into an audible difference – it’s not guaranteed.

We could conduct some form of blind testing, repeated multiple times with many people. Statistically significant results would indicate that there is something happening and combined with the results from vibration measurement would provide a more convincing picture. But how do we select the people to take part? Do we set a standard for hearing and test every participant to ensure they meet that standard? Do we select randomly from the population? Do we skew it more to the older demographic given the typical age of hifi enthusiasts? This is important because it’s not just about whether people agree there is a change but that there is strong preference across the group for one set-up over the other. Older participants will likely have some high frequency hearing loss and may prefer something that boosts these – this is not necessarily a bad thing for the target demographic but would make it unscientific to claim this as a universal improvement.

If blind testing confirms a positive improvement but vibration measurement drew a blank then maybe it has nothing to do with how the support is supporting the equipment but the deployment of the support alone is changing the sonic signature of the room.

There are more questions I could throw at this but if I haven’t made my point by now I don’t think that will help. What I’m trying to get across is that, while many scientific discoveries start as subjective observations of phenomena that are unexpected, the route to understanding what is going on follows the kind of painstaking approach I’ve outlined above, eliminating as many variables as possible.

Finally, when I choose hifi equipment or set-up parameters it’s mostly by ear – I don’t take a thousand people with me to audition speakers under strict scientific control, for example. The thing is I know I’m choosing what pleases me most, accepting the possibility that it may be less than perfect – I’m not making universal claims I can’t substantiate. I think this last point is the reason these threads, cable threads, analogue vs digital threads and the rest descend into acrimony.
 
I’m hesitant about joining this thread because I doubt any good will come of it, but here I am anyway.

If someone makes a change to what their equipment is sitting on and reports a change that makes them happy that’s great and I certainly wouldn’t discourage experimentation. Ultimately it’s about what gives each of us the greatest enjoyment.

If anyone wants to pursue a scientific evaluation of what just happened it is, as quoted earlier, “a bit more complicated than that”.

How have we determined that there is a change in the sound? If it is just by listening, how do we eliminate expectation bias, poor audio memory, imagination, change of focus or other possible causes?

For example, if we are attempting to reduce vibrations reaching the component there is equipment to measure this. If we detect no difference, even with the most sensitive equipment and covering all frequency ranges, that’s fairly definitive unless we want to claim that the test equipment is not sufficiently sensitive or that maybe the change has nothing to do with vibrations after all but is still real. On the other hand, if a difference is detected all we can say is that this may translate into an audible difference – it’s not guaranteed.

We could conduct some form of blind testing, repeated multiple times with many people. Statistically significant results would indicate that there is something happening and combined with the results from vibration measurement would provide a more convincing picture. But how do we select the people to take part? Do we set a standard for hearing and test every participant to ensure they meet that standard? Do we select randomly from the population? Do we skew it more to the older demographic given the typical age of hifi enthusiasts? This is important because it’s not just about whether people agree there is a change but that there is strong preference across the group for one set-up over the other. Older participants will likely have some high frequency hearing loss and may prefer something that boosts these – this is not necessarily a bad thing for the target demographic but would make it unscientific to claim this as a universal improvement.

If blind testing confirms a positive improvement but vibration measurement drew a blank then maybe it has nothing to do with how the support is supporting the equipment but the deployment of the support alone is changing the sonic signature of the room.

There are more questions I could throw at this but if I haven’t made my point by now I don’t think that will help. What I’m trying to get across is that, while many scientific discoveries start as subjective observations of phenomena that are unexpected, the route to understanding what is going on follows the kind of painstaking approach I’ve outlined above, eliminating as many variables as possible.

Finally, when I choose hifi equipment or set-up parameters it’s mostly by ear – I don’t take a thousand people with me to audition speakers under strict scientific control, for example. The thing is I know I’m choosing what pleases me most, accepting the possibility that it may be less than perfect – I’m not making universal claims I can’t substantiate. I think this last point is the reason these threads, cable threads, analogue vs digital threads and the rest descend into acrimony.

Well I for one am pleased you got over your hesitation. Great post!
 
Hi @adamdea - good comments all.

That is why I picked Ben Goldacre! I thought about pointing at Kahneman on biases - equally relevant but he didn't as far as I know ever mention anything hi-fi, and part of the issue here is that we all have biases and throwaway irrationalities, including me and BC.

I completely agree that getting subjective is a problem, but so is ignoring what looks like evidence too readily. A lot was known about the failings of our hearing long before CD turned up and yet we had that 'perfect forever' stuff being 'proven' with graphs on TV. The graphs weren't wrong, but we didn't know all the things that it was important to measure. What we did know was that a surely statistically significant group of people who were not all comparing notes had remarkably similar complaints about a lot of early CDs (and were generally regarded as weirdos/ real ale enthusiasts/ still obsessed with crystal radios).

If we are not doing good science here (and I would vigorously agree that we aren't), could we do it properly and would it help?

If I had enough friends, I could have collected (say) 100 listeners for my hi-fi support experiment. I could have literally blindfolded them (in the unlikely event they'd agree). I could then have cycled through my various trials over a week and got them to dictate their findings. Even if (say) 80 out of the 100 expressed the same preference (with 'like' being so subjective and varying) or given the same descriptions (' flappier bass', 'less stereo/ can't place musicians', 'unpleasant treble on that track' or whatever), this still wouldn't change most people's minds on the topic in either direction, just as some cable-fanciers could in theory be forced to do a similar blind test, but a complete failure to be able to pick out their beloved solid gold/ silver/ fairy-dust cable wouldn't actually dissuade them.

As you say, I am not a sound evaluation device. but my ears are surely the best things to detect how much I like some music. If I find it consistently better with (say) a record clamp, even when someone is standing between me and the hi-fi so I can't know whether the clamp is on, it could be a fluke. However, it may not be random at all.

I don't know how many times I'd have to do the experiments and what 'guess right' scores would satisfy critics (would 80/100 do?). However, I am confident that most nay-sayers (who for reasons of common sense would never try such an experiment themselves) will still be 0% convinced, whatever the numbers are, well after I have lost the will to live or continue experimenting.

That has certainly been my experience with effects I could not detect but others said they could - sometimes it seems clear that something is going on but I can't hear it, and other times I think the believers are just mistaken. However, hardened believers at both ends of the range of views seem the only ones with a need to persuade.

More important is surely that your first point is right - none of this really matters. If I delusionally persuade myself that X is more enjoyable than Y, then the delusion helps me and does no obvious harm. If I invite a few friends over and some of them notice no difference and others perceive more enjoyable music, that could just be because they can read that I am pleased or they noticed new box and made assumptions, but that too doesn't matter. At least some of the people present have enjoyed the music more, and that was the point.

I have done enough blind tests over 35 years to be fairly confident that, if I notice no repeatable difference between A & B in the first 20 minutes of a not-blind test, then spending the rest of the afternoon with a blindfold won't change that. If I do think I notice a difference but with little/ no definition or consistency, then obviously I treat it as a vagary of my brain and ears and move on. And if I think i hear a difference and keep thinking it all afternoon, whether I can see the item being utilised or not, then I could still be wrong about what is going on to create that result.

For all I know, increasing the number of black items in the room is what makes my NDX2 sound better when powered by an XPS2. It is unlikely, but I have not done a proper test with suitable sample size to disprove that. Without a good reason, why would I? Similarly, just because we think we detect that 'something is happening' with a support issue, that is poor evidence that we know what that something is.

I think that this leaves me agreeing vigorously with the thrust of @zarniwoop 's comments. One could do a really detailed examination of the factors we think important, but it would be vastly more complex than putting a vibration detector on a hi-fi stand and playing a single-volume static note on the hi-fi, or working out resonant frequencies of vast numbers of items, and we might very well be measuring the wrong things once again. Or we could hire at great expense 200 of the best ears we can find (which certainly wouldn't include mine) and spend hours doing variations of the experiments to get really statistically significant unbiased data.

I haven't done these things, and neither have those who 'know' that this is all woo and an Ikea sideboard is all you ever need, so we don't have good science - and we all know what we think about bad science.

If I wanted to work as a salesman for a company selling uber-cables for thousands, I'd really want that work done. However, the bar for me is much lower - I just need to get good enough evidence to give a reasonable degree of confidence to one listener, me. The fact that I am harder in many areas to persuade than some is potentially relevant but not proof of anything, ditto my other listeners reaching the same conclusions.

I can substantiate the comment that I consistently liked A more than B, and that others reached the same conclusions, at least to my/ our satisfaction. I absolutely cannot substantiate any claim that 100% (or even 70%) of randomly selected listeners would conclude the same. As with so many contributors here, that is why I am more likely to type 'Give it a listen and see what you think" than "you must all buy X".
 
If one is more enjoyable than the other and you can't pinpoint why, as in describe the audible change, it is more likely to be all in your mind than if you can.

I'm usually able to pinpoint the exact changes going back and forth.

Examples include changes in soundstaging and imaging, the emergence of a new melody from the background, hearing vocal or instrumental separation, more texture or harmony. Etc.
 
@Steven Toy - dead right. If I can't describe a change, or I thought I heard an improvement but the same song and setup 20 minutes later gets a different answer, then it's probably all in the mind. This happens. As others have said with vigour, audio memories are far from perfect and it is easy to make an honest mistake, especially if invested in it. And doesn't it sound better now you have turned it up and the sun has come out...

Imaging and sibilance are generally good things to focus on critically, for me at least - if I play Steely Dan or Gryphon and can't really tell where a performer is, then I can be confident that I will note the same thing on the same record tomorrow or on other songs today. And if I don't reach the same conclusions 3 times out of 3 on the same song, then I am probably imaging things and should just move on.

For me at least, not wanting to change my mind is also relevant. I have heard many record clamps on LP12s over 35 years or so. To me, they did not fix what is imperfect about LP12s (especially back then) but ruined what we buy them for - no life and no boogie. I was reluctant to try one again because I 'knew' they didn't work - I only did because a shop was sending me a pack of things to try anyway. I was content with my view that I didn't have to try 100 clamps and could keep it simple - none worked. My girlfriend was amused to see how many times I wanted the original 'blind' result repeated, even with me watching, before I admitted that it wasn't just different but was also clearly better.

I am sure the same bias will have affected me in other sessions over the years, and sometimes I will have reached the 'wrong' conclusion because of it.

The issue about 'why' that you raise looks like a 'what' at first sight - i.e. what is different? The mechanics of the 'why' are meatier.

One of the things I have tried to get across in my verbiage is that the real 'why' is not something I can claim to know - I don't really know why adding an XPS2 to my NDX2 improved stereo separation or made tiny noises more realistic (not missing or vague if bass-y for example), but I am confident that it does.

Given that the science on power supplies is rather simpler than the science of all relevant vibrations in a real room, working out why most things involving isolation work or don't work is clearly beyond me. So, with what rigour I can muster, I can make decisions using (a) my fallible ears or (b) my very incomplete understanding of a topic that I do know to be much more complicated than the loudest voices (of all sorts) suggest. Given that I listen to music with those ears, and that I am confident that the science that can reasonably be applied is very incomplete anyway, picking 'mostly (a) please' is easy.

So what does all my excessive waffle mean for the actual question asked? I think it just means "Try a few cheap/ free and easy things and see if you prefer it". Wouldn't most of us (apart from those who 'know' a universal answer here already) say the same?
 
If one is more enjoyable than the other and you can't pinpoint why, as in describe the audible change, it is more likely to be all in your mind than if you can.

I'm usually able to pinpoint the exact changes going back and forth.

Examples include changes in soundstaging and imaging, the emergence of a new melody from the background, hearing vocal or instrumental separation, more texture or harmony. Etc.

For Etc I would include dynamics. Surprisingly dynamics are most important for classical music and jazz, for other music, rock and electronics, it is less important?

In live classical events imaging is generally very vague.
 
For Etc I would include dynamics. Surprisingly dynamics are most important for classical music and jazz, for other music, rock and electronics, it is less important?

In live classical events imaging is generally very vague.

Agreed. I forgot that one but it is perhaps more a relative thing than a new melody popping out.
 
I’m hesitant about joining this thread because I doubt any good will come of it, but here I am anyway.
..

Finally, when I choose hifi equipment or set-up parameters it’s mostly by ear – I don’t take a thousand people with me to audition speakers under strict scientific control, for example. The thing is I know I’m choosing what pleases me most, accepting the possibility that it may be less than perfect – I’m not making universal claims I can’t substantiate. I think this last point is the reason these threads, cable threads, analogue vs digital threads and the rest descend into acrimony.
Very good post. The points you make are basically the starting point of a sensible discussion.

It is not a coincidence that hifi products are sold by reference to sciencey sounding blurb. Nor that people actually do at least in the first instance often make what appear to be universal claims (even if they fall back to "well that's what it sounds like to me"). The idea that we are hearing cutting edge advances in science/engineering is an important fancy dress element of the hobby as generally practiced.
Now we get the the nub of the matter (as I see it).
-some people care whether this is actually the case, will seek to learn and modify their views based on (genuine) information .
- some people do not care at all
- some people care quite a lot whether things match their intuitive understanding but will not seek out new information or modify their views in the light of it.

In any event to return to your last point, different people practice the hobby in different ways. Personally, I am very interested in music and very interested in how things work. Whilst I quite like proper hifi I have concluded that it is not absolutely essential to my enjoyment of music. It does however give a sense of occasion to proper music listening, rather like my projector which I tend to reserve for watching proper films properly. I am quite interested in the notion that technological improvements might materially increase my enjoyment of music but I'm not really interested dicking around with stuff in order to stimulate my dopamine levels.

I tend therefore to be interested in whether there are plausible and systematic mechanisms behind an alleged improvement [that is to say pausible if you are thinking and actually care, not audiophile nonsense] and how any resulting difference compares with known limits of hearing. This is the bridging concept which enables one to make a rational (if not completely definitive) assessment of a claim in the absence of the fully controlled experiment.

I tend (or at least have in the past tended) to assume that other people are interested in whether some supposed improvement does in fact actually do anything material to the output (and that that is what they are hearing) , especially when they assert that it does. Oh well.
 


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