Frank,
No reason for hard feelings between you and us, and happily there are none.
For clarity, please note that there is no conflict between attempting to "(pseudo-)objectivly assign qualities or the lack thereof to certain design features" and "personal/listening impressions". Nor should preference be given to one over the other, since both are required for real progress. The former is what scientists call a hypothesis. The latter is empirical evidence, which scientists use to test a hypothesis. Both are valuable provided one remains concious of the differences and relationships between them.
One problem with many audiophiles, it seems to me, is that we often perform each of these without proper regard for its counterpart. We accept hypotheses without testing. We hear something and try to emulate it without understanding. Many of us make both mistakes at the same time. This is not a formula for success, and asserting one or the other lowers that light:heat ratio.
The scientific method involves two stages of action:
1. the formulation of a hypothesis;
2. empirical testing to prove or disprove it.
Taken together, this is called an "experiment". Taken apart, it's called chaos. ;-)
Fortunately for me, Paul is a scientist. When he forms a hypothesis such as the ones I described above, it remains as such until we test it empirically. Conversely, should we hear something new we make an effort to understand how it happened (ie, form a new hypothesis).
It's easy to see how example #1 in my post above followed the scientific method. Paul hypothesized about how a certain cartridge would sound (based on design elements). We tested by listening. In this instance the hypothesis was confirmed.
Example #2 also followed the scientific model. In that case, anomalies heard whilst listening sounded more electrical than mechanical, which let Paul to hypothesize that this cartridge was neither an MM nor an MC. That hypothesis was tested by referring to the manufacturer's spec sheet, and was also confirmed.
Here are two other examples, one proved and one disproved. Prior to RMAF 2008 Paul formed a hypothesis about a certain cartridge and I formed a hypothesis about a certain turntable. Both were based on our "(pseudo-) objective assignments of sonic characteristics to certain design elements". In our targeted listening sessions Paul's hypothesis was proved correct (the cartridge misbehaved as predicted). My hypothesis was proved incorrect (the turntable, Winn's Saskia, did not misbehave as predicted).
I've always imagined that you, Joel and other successful equipment designers do not develop and improve your complex products by random trial and error. It seems likely to me that you also "(pseudo-)objectivly assign qualities or the lack thereof to certain design features", then build a prototype and test your hypothesis empirically. Some ideas work, some don't, but you learn from each experiment and advance by so much.
Cheers,
Doug
No reason for hard feelings between you and us, and happily there are none.
For clarity, please note that there is no conflict between attempting to "(pseudo-)objectivly assign qualities or the lack thereof to certain design features" and "personal/listening impressions". Nor should preference be given to one over the other, since both are required for real progress. The former is what scientists call a hypothesis. The latter is empirical evidence, which scientists use to test a hypothesis. Both are valuable provided one remains concious of the differences and relationships between them.
One problem with many audiophiles, it seems to me, is that we often perform each of these without proper regard for its counterpart. We accept hypotheses without testing. We hear something and try to emulate it without understanding. Many of us make both mistakes at the same time. This is not a formula for success, and asserting one or the other lowers that light:heat ratio.
The scientific method involves two stages of action:
1. the formulation of a hypothesis;
2. empirical testing to prove or disprove it.
Taken together, this is called an "experiment". Taken apart, it's called chaos. ;-)
Fortunately for me, Paul is a scientist. When he forms a hypothesis such as the ones I described above, it remains as such until we test it empirically. Conversely, should we hear something new we make an effort to understand how it happened (ie, form a new hypothesis).
It's easy to see how example #1 in my post above followed the scientific method. Paul hypothesized about how a certain cartridge would sound (based on design elements). We tested by listening. In this instance the hypothesis was confirmed.
Example #2 also followed the scientific model. In that case, anomalies heard whilst listening sounded more electrical than mechanical, which let Paul to hypothesize that this cartridge was neither an MM nor an MC. That hypothesis was tested by referring to the manufacturer's spec sheet, and was also confirmed.
Here are two other examples, one proved and one disproved. Prior to RMAF 2008 Paul formed a hypothesis about a certain cartridge and I formed a hypothesis about a certain turntable. Both were based on our "(pseudo-) objective assignments of sonic characteristics to certain design elements". In our targeted listening sessions Paul's hypothesis was proved correct (the cartridge misbehaved as predicted). My hypothesis was proved incorrect (the turntable, Winn's Saskia, did not misbehave as predicted).
I've always imagined that you, Joel and other successful equipment designers do not develop and improve your complex products by random trial and error. It seems likely to me that you also "(pseudo-)objectivly assign qualities or the lack thereof to certain design features", then build a prototype and test your hypothesis empirically. Some ideas work, some don't, but you learn from each experiment and advance by so much.
Cheers,
Doug