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  1. #61
    Senior Member opaqueice's Avatar
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    Quote Originally Posted by JSonnabend
    The point is, simply, that if one is trying to analyze how a particular piece of equipment sounds, he would be best served by eliminating extraneous factors that may bias the analysis. That's the whole point behind ABX testing. If one comes to an audition substantially biased because of marketing hype, for example, then he might as well not do the test.
    I agree completely, and I've spent much time on these forums advocating for blind testing and doing some myself. I'm simply amazed that audio magazines write reviews evaluating equipment without them, and I suspect that the reasons for that are rather distasteful.

    On the other hand, nobody listens to music in their living room blind... and ultimately that's what we care about. So in this case if he's happy now (and, speaking of psychology, don't forget that swapping the interconnects left and right reportedly made a big difference in this case!) I'd let it go.

    To be clear, whether or not two things sound different is not subjective. It can proven or disproven via ABX testing. Which of two demonstratably different sounds is preferable, that's subjective.
    Agreed.

  2. #62
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    Yes please let it go! LOL I had a listening session last night that has just ended (its 7.30 in the morning) and im as happy as larry!

    Deaf Cat hi... this Lacie is definately a Seagate, perhaps theyve changed their suppliers?

    Good point about the Nos dac DWC that was one of my first bits of advice a couple of weeks ago. I was lucky enough to be able to audition my Bel canto against a heavily modded nos dac using 8 TDA1543's, against the Battery powered attraction dac (which is also nos), against a Benchmark Dac 1 (nasty in extremis). The Attraction destroyed the competition... its a beguiling performer, so very very MUSICAL, so much so that my bel canto is up on Ebay as we speak (low starting price,no reserve, get yourself a bargain! )


    Perhaps the problem is that there is too much objective measurement in laboratories,Anachoic chambers etc done by over paid professionals and not enough subjective focused listening done in your own special place..and preferably listening with your heart as well as your ears.

    Adios Friends

    apart from you Jsonnabend ...you rude fucker!

  3. #63
    Senior Member Phil Leigh's Avatar
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    OK - I'm letting it go.

    Last night a visiting audiophile from the planet Tharg dropped by and installed a Faraday cage around my house. The immediate reduction in background hash was dramatic and obvious. Apparently on Tharg these are all the rage and the best ones are rhodium plated. However, they are a touch expensive. Fortunately the Thargian had managed to pick up an ex-dem model which was luckily the right size for my humble abode.

    After many hours of careful a/b'ing we agreed that the cage was pretty much staying. We also tried some solar panels but the central wavelength of light of the Tharg sun is different to ours and results were inconclusive. Also it transpires that sunspot activity can cause spikes in the panels that create an effect called "solar jitter". The Thargian Audiophile Society (TAS) are considering erecting a wall of solar damping foam between their sun and Tharg in order to counteract this effect. These guys are certainly dedicated.

    He's taken an SB3 back to Tharg - apparently they're quite keen on the whole "disk based server" concept but there are concerns about intergalactic product return policies.

    Anyway, as a parting gift he left behind a small vial of Edge Shaper nanobots. You pour these onto your digital cable and they burrow inside, travel along the cable to the SPDIF DAC connector and wait for the analogue waveform carrying the digital data to arrive. If they detect any malformed ("leaning edges" according to the accompanying brochure) edge transitions, they prop them up so they are perfectly straight, ensuring perfect edge transition detection in the DAC. Oh, and also any edges that are early or late get corrected too. it's too early to say if they make a difference but I noticed a funny smell coming from my DAC today so I opened it up and instead of a bunch of components there's now a blob of purple goo...anyway, still sounds pretty good. So good in fact that I can finally put my trusty 8-track on Ebay...

  4. #64
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    I would *love* a Faraday cage lining the house walls. Really :-)

  5. #65
    apart from you Jsonnabend ...you rude fucker!
    Thanks, Jack, for the kind words. Have I struck a nerve?

    In any event, your thoughts of well being mean a lot to me, coming as they do from a man who thinks digital interconnects can "warm" sound and that stereo components can introduct sibilance. You may want to look up that last word, btw. It's a phenomenon of the recording process, not playback -- but perhaps, Jack, listening "with your heart" the way you do you hear things differently than I, who listens with his ears.

    - Jeff

  6. #66
    Senior Member ceejay's Avatar
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    Quote Originally Posted by inguz
    I would *love* a Faraday cage lining the house walls. Really :-)
    Indeed! just think - nobody can catch you on your work mobile! ("sorry, reception round here is really terrible...")

    No need to worry about wireless lan security!

    Only downside I can think of - would make surfing / listening in the garden a bit tricky....

    Ceejay

  7. #67
    Senior Member Phil Leigh's Avatar
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    One note of caution - the Faraday cage has very low WAF...

  8. #68
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    OK ive checked with John Wood, a friend of my dads and the engineer on Nick Drake's albums. He says (and I quote) that its very easy to hear the sonic differences between digital interconnects a test for this comparison can be done in the studio without problem. So far as Sibilence, it is all too often a problem at source (in the recording) especially these days when engineers are hell bent on maximising input levels... just as jitter can be a problem at source or even phase inversion between tracks depending on the equipment and how its used, But in the home it can also be a problem depending on speaker choice / equipment / interconnects etc... aluminium tweeters compared to fabric dome etc....

    Id rather listen to a profesional with over 40 years in the business than listen to you.. thats for sure!

    It really seems that you have a small outlook and dont take into consideration equipment differences or more importantly that we are all (supposedly) individuals with different hearing capabilities... do you really think that your system would sound the same to both of us if we were listening to it at the same time in the same room?...

    you did touch a nerve...

    Jack.

  9. #69
    Senior Member Phil Leigh's Avatar
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    Sibilance is easily avoided in the studio using good mics & mic technique, sensible EQ and (where necessary) a suitable de-esser.

    And I'd be a bit more circumspect Jack - there are some people on this forum with a lot of professional audio experience.

    As for digital cables affecting frequency response - absolute nonsense. It's simply not possible, because the cable would have to change the bits which they demonstrably DO NOT DO.
    Cables can affect jitter which is a different problem. I'd love to know what the "studio test" is...I'll try it in my studio - anyone like to comment? In fact I did a test last year on this using my TACT gear to do an in room plot using various cables (digital - coax (various) vs toslink (various) and analogue.

    I found that there was absolutely no change in the plot using different digital cables (TACT to DAC), but there were very small differences (tiny fractions of a dB here and there) using different cables between DAC and pre-amp. I gave up in the end.



    Sibilance is a particular type of "distortion" (to be more accurate, it's an over-emphasis of certain sounds) on vocals and has nothing to do with mix levels per se - you can have really low-level sibilance. It's quite rare to come across an album with noticeable sibilance these days. Of course, it is possible to introduce "a sound like sibilance" into the replay chain by boosting certain frequencies. Early (84-86) low-end CDP's were notorious for this especially anything made by Sharp (ugh).



    I'll take the bait and ask one final time - please give an example of a track (any track) that sounds excessively bright / "sibilant"

    By the way what instrument do you play? - I'm guessing it's bass guitar...

  10. #70
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    Quote Originally Posted by Lyonesse
    Adios Friends

    apart from you Jsonnabend ...you rude fucker!
    Jack- I thought you were leaving? Now that you've figured out we're all idiots, maybe your Daddy's friend can help you.

    -Ben

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