What Matters and What is Nonsense


I’ve been an audiophile for approximately 50 years. In my college days, I used to hang around the factory of a very well regarded speaker manufacturer where I learned a lot from the owners. When I started with audio it was a technical hobby. You were expected to know something about electronics and acoustics. Listening was important, but understanding why something sounded good or not so good was just as important. No one in 1968 would have known what you were talking about if you said you had tweaked your system and it sounded so much better. But if you talked about constant power output with frequency, or pleasing second-order harmonic distortion versus jarring odd-order harmonics in amplification, you were part of the tribe.

Starting in the 1980s, a lot of pseudo scientific nonsense started appearing. Power cords were important. One meter interconnects made a big difference. Using a green magic marker on the edge of a CD was amazing. Putting isolation dampers under a CD transport lifted the veil on the music. Ugh. This stuff still make my eyes roll, even after all these years.

So I have decided to impart years and years of hard won knowledge to today’s hobbists who might be interested in reality. This is my list of the steps in the audio reproduction chain, and the relative importance of each step. My ranking of relative importance includes a big dose of cost/benefit ratio. At this point in the evolution of audio, I am assuming digital recording and reproduction.

Item / Importance to the sound on a scale of 1-10 / Cost benefit ratio

  • The room the recording was made in / 8 / Nothing you can do about it
  • The microphones and setup used in the recording / 8 / nothing you can do about it.
  • The equalization and mixing of the recording / 10 / Nothing you can do about it
  • The technology used for the recording (analog, digital, sample rate, etc.) / 5 / nothing you can do about it.
  • The format of the consumer recording (vinyl, CD, DSD, etc.) 44.1 - 16 really is good enough / 3 / moderate CB ratio
  • The playback device i.e. cartridge or DAC / 5 / can be a horribe CB ratio - do this almost last
  • The electronics - preamp and amp / 4 / the amount of money wasted on $5,000 preamps and amps is amazing.
  • Low leve interconnects / 2 / save your money, folks
  • Speaker cables / 3 / another place to save your money
  • Speakers / 10 / very very high cost to benefit ratio. Spend your money here.
  • Listening room / 9 / an excellent place to put your money. DSPs have revolutionized audio reproduction
In summary, buy the best speakers you can afford, and invest in something like Dirac Live or learn how to use REW and buy a MiniDSP HD to implement the filters. Almost everything else is a gross waste of money.
128x128Ag insider logo xs@2xphomchick
I think it is nonsense to believe that a new receptacle will "break/burn in".  I can understand a better/tighter connection with the plug via a better quality unit, but not that a receptacle will break in.
geoffkait:
Overly compressed masterings have, truly, become the bane of audiophile's enjoyment. The new Old Crow Medicine Show album is a classic case of the CD sounding just like MP3 because all is compressed way too close to 0 DB. Cannot listen to it for any length of time.
Studios are under pressure from labels to make all WAY TOO LOUD because they believe it makes the sound preferable/saleable over less loud/compressed masterings. This might be affected by lower quality listening equipment where volume is confused with quality.
Higher quality orchestral recordings (now becoming dinosaurs) have a transparency that makes all sound LESS LOUD. The timbral accuracy and soundstage definition pay off big dividends in return.
And, for a pop example of great mastering, listen to the self-titled Natalie Merchant album that is crystal clear and beautifully dynamic. Sarah Jarosz's offerings are also well done in this regard.
After reading all so far, the only thing sticking in my head is the op thinks $5000 amps are ridiculous.The rest of it?Well yeah nothing can be done about the recording venue, the mics used, the way the album was mastered..Then you have Jazz recorded on 78's back in the 30's and 40' which sound pretty good when crammed 75+ minutes on a cheap import CD, considering. the MUSIC sounds great.
My take on it is: Why do you care if others like to fiddle with stuff they own? Does it bother you? Keep you up late at night?I bet my $5000 amplifier hurts your tummy. Just think what the $3000 wire connecting it to my also $5000 preamp does!Just my amp. preamp and the wire cost as much as my brand new speakers. I used to own speakers that only cost $5000 with the $5K a pop electronics. they sounded pretty good, but the new ones are better. And a lot of that is the $$$$ stuff connecting them.
My one saving grace is the $150 wire for speaker cables. I bet the op approves at least a little. But...  Even I have to agree some WIRE i bought off eBay MilSpec silver plated Teflon 12 gauge wire is almost as good.. and that cost about six cents a foot.
I have receptacles, and wires, and conditioners, expensive electronics. (Hell I just bought a $7000 SACD/Dac)  all that stuff that makes the op sad. Do not worry, you did not have to pay a penny for it. Lucky for me you do not rule the Universe. Or us high rollers would all be in jail.
elizabeth .....OMG you bought speaker wire for 6 cents a ft.? Im so ashamed of you !!!! 
I would agree. To me room and speakers. Proper amp to drive them a good preamp to give a natural pass through and a great source to start be it Digital or Vinyl. As far as formats both can be superb if care is taken in the mastering and recording. It’s rare now days with newer recordings due to production and compression use that make everything loud at the same level.