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An Audiophile Goal

An Audiophile Goal.

I have been grappling with the perceived problem of listening to LPs at the same volume setting, for every LP. The original post that I addressed this problem with is here http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1179765549&openmine&zzAcoustat6&4&5#Acoustat6. It was to discuss my idea of playing back all LPs at the same volume setting regardless of type of music or recording etc. To say it was a debacle would be an understatement to say the least. The discussion did not start the way I thought it would and went quickly downhill from there. I would like to put that behind me and realize why it was so controversial and failed as a discussion. As I originally said this idea was new to me and it took such a long time to coagulate my thoughts about this and the reasons why it works. The answer is obvious now. I didn't have an audiophile goal.

I got the answer from reading the recent post about J. Gordon Holts article in Stereophile which was discussed on Audiogon. .
The reference being about an audiophile goal in one of the posts. This was my thought, myself and audiophiles in general don't have an audiophile goal (actually, I do have several but I will stick to the topic). It seems that no one can agree on a goal, its all so subjective some say, I like it loud, I like it quiet, I like a lot of bass, I like imaging and on and on. This is fine, that is why we all buy different speakers and equipment. It comes down to you can't measure music. You have to hear it, does it make your toe tap? Can you listen at a low level? Is the tweeter too bright? Is the Bass too loud? Ad nauseum. And there we go again are my toes tapping enough? What is low level listening? Is the bass loud enough for hip hop but too loud for a violin concerto?

I found myself an audiophile goal and an easy one at that, its 20-20k hz. Yeah, you like it too. Right? You buy phono cartridges, pre-amps amps etc. that are flat 20-20k hz. So my audiophile goal is to get 20-20k hz flat (as possible). I said I needed a goal! I know there is more to it than that, but undeniably it is a goal. Now if I go with a test reference of 83db at 1000hz from my test LP this will be an excellent level for dynamics, noise levels and acuteness of hearing. All that is required is 1000hz at 83db from the test LP and all other freq matching this level, So 10,000hz and 5,000hz along with 500,100, 80, 50 and 30hz with all of the freq in between at the specified level of 83db will all be played back off of the test LP at the same level or as close as possible as can be obtained within a systems speakers and equipment and rooms limitations. Find this level and you leave your volume control set to this position for every LP you play. Pretty simple actually.

The original idea came to me slowly over the last three to four years, though I struggled with the quandary for as long as I can remember and I have yet to hear anyone say, sure you don't do that? I thought we all did. All because I didn't have an audiophile goal. Now I find out that perhaps even J. Gordon Holt may not have an audiophile goal, even one as simple as this. The best thing is now I get to listen to all of my LPs at the same gain setting with its attendant qualities of dynamics, constant noise levels, unchanging freq response and a host of other benefits which come along for the ride.

I knew it was wrong to be changing volume levels and bass levels for different LPs. Jumping up in the middle of a song to hear the bass drums or turning it down for a quiet violin solo and doing the same for complete albums. It was insane, I always felt like I was in junior high school cranking it up for the cool parts. But every one does it, so did I. I was missing that audiophile goal.

I enjoy listening to my Lps, many of which I still have from my early high school days and everything in between which amounts to about 2500 quality LPs. As a now confirmed audiophile, now that I have a realistic and perhaps more importantly a measurable goal, I could start figuring out which albums sound good and which do not. It was easy, every LP is played back at the same gain level (volume control setting if you will) and guess what you hear? Every Lp for what it actually sounds like.

Another benefit is that every system you hear is played back to the same standard from the same test LP, perhaps it could even be used at audio shows where every room is played back at this reference setting. If you choose not to listen at the standard then it is stated at the door that reference setting is either higher or lower than the reference. This way if you choose not to abuse your hearing in a room that is 6db above the reference standard you are warned before entering.

And all of this because J Gordon Holt didn't have an audiophile goal.

If you can listen to one Lp at a certain level whether it be a high or low level why can't you listen to any other record at that level?

Just a few thoughts.
Thanks,
Bob
acoustat6
mlsstl
1,447 posts
 
Raul wrote:
Maybe what you have to do is to convince to the RIAA about your subject because with out standards is very difficult to follow a " rule " like you want.
Bob is certainly entranced with his way of looking at this issue but as with most things in life, simple theories are typically complicated by reality.

First, we have a massive inventory of already recorded material that doesn't follow his rules. The bulk of this can't be re-recorded, what with dead artists and a lot of the still-living ones likely not interested in the issue from his viewpoint.

But even if all new recordings from this point forward followed his rules, this would mean compromises that would adversely affect sound quality in other ways.

Some time ago I pointed out that the live sound level of a harpsichord is much lower than that of a full symphony orchestra. The book "The Physics of Musical Instruments" by Fletcher & Rossing indicates the harpsichord's volume level is about 68 DB +/- 5 dB. A symphony orchestra can easily exceed 100 dB.

If I set the recording medium to allow for 110 dB peaks from the symphony without distortion, that means my harpsichord should be recorded 37 dB under (110 db orchestra - 68 dB + 5 harpsichord = 37) under that level. Only then will my relative playback levels be correct for each recording without adjusting the amplifier volume knob.

The reality is that I've just intentionally thrown away 37 dB of signal to noise ratio for my harpsichord recording. S/N ratio is precious in recording, particularly for vinyl records where you're doing pretty good if you have much over 60 dB to start with. I find nothing "audiophile" by intentionally reducing my S/N ratio in the recorded medium to 23 dB (60 - 37) just to satisfy an urge to avoid touching the amp volume.

The reality is that the playback electronics have a lot more S/N bandwidth to spare than a LP. It makes no sense to me to give up something in short supply in order to conserve something I have lots of.

That said, I appreciate that Bob's method is meaningful to him and seems to provide him with increased listening pleasure. However, there are some very good reasons that it is unlikely to gain popularity with most people.
acoustat6 OP
357 posts
 
Hi Mlsstl, you said, "That said, I appreciate that Bob's method is meaningful to him and seems to provide him with increased listening pleasure. However, there are some very good reasons that it is unlikely to gain popularity with most people."

I'll drink to that.
And just try to remember some of my points when you are listening/tweeking your system and see if any of them, perhaps, relates to you and your system.

Bob
coltrane1's avatar
coltrane1
816 posts
 

In over 60 years of listening to lp’s not once have I ever considered experiencing albums at a particular sound wave. Either turn the volume level up or down. Pretty simple. Spend the rest of your time listening. Keep it simple. 

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