On the Certainty of Science…
By Bryan Geyer
“What I see
happening around me is depressing. The knowledge of how to create stunning
reproduced sound exists, but because people in general don’t read, and many don’t
believe in science, the average consumer ends up living with inferior sound
when the same money could have purchased more. Countless hours in audio forum
discussions are no substitute for a few days reading peer-reviewed science.” Also “…far too many audiophiles follow
faith-based notions that the answers to perfect sound lie in distractions like
power cords, speaker wires, and exotic electronics. This is money not well
spent.”
These are the words
of Floyd E. Toole, as taken from an article that appeared in the December 2017
issue of AudioExpress, in an interview by author Shannon Becker. Floyd
Toole is the noted author of Sound Reproduction (Routledge, 3rd edition,
2018), a valued audio reference that’s now in its third printing. Prior to his
recent retirement Toole was VP in charge of acoustical engineering at Harman
International, one of the largest audio equipment conglomerates in the U.S. He
is widely recognized and respected for a lifetime of research and achievement
within the audio engineering industry.
One of the things
that Toole finds vexing is the illogical means favored by audiophiles to assess
the potential benefit of component upgrades. That process generally initiates
with obvious and overt disinterest in any of the related technical issues.
Critical detail like impedance compatibility, input sensitivity, and stage gain
get dismissed without review, overrun by the compulsion to conduct listening
trials of how stuff sounds. In truth, listening tests bear no
consequence. A comprehensive 2012 paper (http://www.pnas.org/content/110/36/14580)
that was devoted to the study of aural memory plainly shows that listening
perception is a fleeting sensory response that’s readily swamped by overriding
visual influences. Subjective aural impression is just too elusive to serve as
a reference for later comparison. Barring cases of badly mismatched circuit
compatibility, attempts to evaluate component quality by subjective listening
will yield randomized results. The ear cannot serve as a viable accuracy
indicator unless the response is monitored in a collective group setting,
administered under “double blind” test conditions, and summarized with
appropriate statistical oversight.
Another flaw innate
in evaluating audio quality by ear is that the implied goal has become so very
conflicted. The original aim was “high fidelity”, meaning faithful to the
original; i.e. accuracy. In more recent decades this zest for accuracy
has softened. The present target is more often “sound that I like”; i.e. a euphonious
sound. This state of euphony gets variously described as lying somewhere
between select extremes that are popularly labeled “too warm” and “too
detailed”, a.k.a. “too analytical”. Of course, that’s a slippery
scale, and alternate choices are likely to bob ahead dependent on the source
material, mood, hour, choice of libation, and the velocity of warp speed when
expressed in furlongs-per-fortnight.
Given this evidence,
it’s apparent that mere listening alone is not a reliable basis for
assessing the excellence of audio equipment. So, what’s a better alternative?
What’s a good way to rate equipment and system upgrades without resorting to
the groupthink blather that pervades most of the audiophile forums? Well, here
are some suggestions….
Per Toole, try
reading. Reacquaint your expectations with the glorious certainty of science.
Do some basic study of the established physics, e.g. Ohms law, impedance
requirements, voltage gain, load compatibility—the standard analog essentials
that describe operative fit and function. Determine precisely what your
equipment specifications mean; learn about their significance and the
limitations that they imply. Understand why low resistance is the only
parameter that will matter when you connect eight feet of cable between the
output terminations on your power amplifier and the input terminations on your
loudspeakers.
Seek objective
resources. Most of the audio advisory publications are hopelessly subjective,
but there are exceptions, notably the Audioholics site: https://www.audioholics.com. In addition
to competently researched product reviews they also offer intelligent tutorial
and opinion guidance; note the numerous technical articles that are cited
toward the bottom of this section that introduces the Audioholics owner
at https://www.audioholics.com/authors/gene-dellasala.
Last—buy this
reference compendium*: https://www.abebooks.com/servlet/BookDetailsPL?bi=30158293718&searchurl=isbn%3D9780415788847%26n%3D100121501%26sortby%3D17&cm_sp=snippet-_-srp1-_-title7.
It’s The Audio Expert, by Ethan Winer (Routledge, 2nd
Edition, Dec. 2017). Be absolutely certain that you buy only the new 2nd
edition (Dec. 2017); ISBN-13 9780415788847. This book is a 783 page (fully
indexed) source for “Everything You Need To Know About Audio”. The
author is a solid science-based audio engineer who subscribes to all of the
vital basics (nicely capsuled in Chapter 23). In addition, he’s a patient
psycho-acoustician who can explain to you why you felt that the sound improved
after installing those new $1,200 speaker cables. (There’s more to it than mere
confirmation bias; refer p. 100.)
BG (July 2019)
John J. Puccio, Founder and Contributor
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing for the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl Nehring, Editor and Contributor
For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2022 Accord EX-L Hybrid I stream music from my phone through its adequate but not outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has tolerably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
William (Bill) Heck, Webmaster and Contributor
Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.
The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.
Ryan Ross, Contributor
I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.
I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
Mission Statement
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
Contact Information
Readers with polite, courteous, helpful letters may send them to classicalcandor@gmail.com
Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.
