I have several systems (Revel Salon 2, B&W 801, PSB, JBL M2) and can hear and remember differences in bass quality which is also room dependent, in soundstaging which is also speaker placement dependent, and dynamic range which is also dependent upon source and amp power. Other than the afore mentioned characteristics, I seem to be unable to hear and REMEMBER the other characteristics that must differienciat the speakers. There have to be differences, but I am unable to distinguish them with the passage of time when having to rely upon audio memory. Were a pair of speakers set in the same space and I was able to switch between them in real time, then I could probably make distinctions. As it is, all my systems seem to give me equal satisfaction when bass quality, sound staging, and dynamic range are taken out of the equation. I confess, I feel really inferior when everyone else makes fine distinctions, and I wonder If their skill is a figment of imagination or actual skill, which probably can really be cultivated, but is probably somewhat rare.
I've also used Musician’s Ear Plugs since the 90's. (Along with heavier duty earplugs if necessary). I'll still use them even in a pub/restaurant if it's really loud (and as I'm sort of a "foodie" who loves dining out, it's depressing that restaurants have been ever more deliberately designed to be louder and louder, so they feel like a "happening place.")
As for Tinnitus and sleeping, I decided long ago not to use masking, simply because I didn't like the idea of feeling reliant on some external help. So I just got used to it and generally don't have an issue sleeping. (Unless I've had some recent really loud noise exposure which makes the ringing worse for a while).
Having begun to experience hearing loss and concomitant tinnitus in my 60s, I finally opted fir a set of (relatively) high-end Phonaks, which were computer-tuned to audio spectrum of greatest loss, round 4000 Hz, +/- 500 Hz. Listening to a variety of music on a “mid-fi” rig there is a clear improvement in overall detail in the mid-frequencies, with little difference noted in the two extremes. Now, with hearing compromised, it doesn’t seem worthwhile to go all-in spendy for system upgrades, as the gain in detailed nuances would probably be washed out, or somewhat distorted by the hearing appliances. However, I would be interested in hearing from audiophiles who indeed have compromised hearing, use aids, and can ascertain sonic differences between various pieces of hi-fi kit as one moves up the quality ladder.
Test was maybe 4 months ago, 13k is it for me now which frankly I am surprised I still am at that level. With all the live bands up against the massive stacks of the 70,s and 80,s. Playing bass in my band. And working in heavy machinery manufacturing for last 40 years!
Fortunately no tinnitus yet!
Yes I wear custom ear plugs at work and have done for decades but not at concerts or when I was playing bass and I was always astonished at what spl I could achieve with a Peavey 100watt tube head and 2x15 cab!
Now how does any of that affect my listening enjoyment or ability to detect changes with different components, cables, tweaks etc?
Not at all I believe.
I am happy, I can hear changes, I enjoy my music, like right now. That is all that matters to me.
Don't worry too much, as mentioned, I can currently only hear up to about 12k, and even to hear that I will have to really concentrate. But I could clearly differentiate between my Gryphon Mephisto power amp and my CH Precision M1 amp. Both being good power amps, but with different sound. So most likely it doesn't have too much to do with frequency, it's just a different sound, and some people will choose amp A, others amp B.
@inna Unfortunately I have no experience with the FM Acoustics. Gryphon is great indeed, nevertheless, I'm now using the CH Precision M1. As stated before, both are very good amps, but my personal preference made me change from Gryphon to CHP. Still using Gryphon amps for the bass towers.
@inna Yeah, I'm using Gryphon speakers, it's all about having the preferable equipment combination for your own ears. It's not (or certainly less) important what others think.
You are very lucky. Do you know what Flemming Rasmussen once said about his top of the line amplifier ? He said - This one will wake up dead Eskimo ! Greenland is part of Kingdom of Denmark, there are Eskimo living there.
Farce indeed. But I wouldn't be too harsh, some people are trying to find their voice and start by spreading caca all over the place. Elizabeth, if you can hear sh.t that's impressive.
I suspect the vast majority of the older members on this forum will struggle to better 13k hearing tbh, no shame in that at all. And does it mean I enjoy my system and music any less? Heck no! And does it mean I cannot tell Schiit ( sorry could not resist!) from Gryphon? Heck no!
Two approaches: one - the worse the hearing the better equipment needed, another - the opposite. And yet another approach - better equipment without paying any attention to the above.
have had tinnitus in my right ear for years....very annoying, along with poor HF hearing in that ear....yet I can still, thankfully hear small differences in music and recordings, as well as any changes I make to my setup. I can't explain it. I guess you just have to know what you're listening for. I'm sure that 20 years ago my hearing was much better, but thankfully I can still appreciate my gear and the music that it plays. When I can no longer do that, I guess I'll post my stuff here for sale and go back to reading books at night :)
I joined the Honolulu Musicians Union 50 years ago (they tossed me and every other member I knew out from time to time for non payment of dues), and have played electric guitar too loud too often and still do. Ears ring, etc. So now I mix live concert sound to the standards required by Fred Hersch, Julian Lage, The Baltimore Consort, etc., and get overpaid to do so. My "active listening" (meaning paying attention) sessions with my hifi rig have increased my listening abilities and contribute mightily to my ever evolving personal taste. I imagine I’m not alone there...Bob Ludwig is 73...Clearmountain is 65...my former neighbor Elliot Scheiner is 71...can they hear dog whistles? I doubt it, but their dogs can’t apply accumulated perceptive skill to sound production so it’s a wash (sort of, but you get it). Also, I’ve been into sports cars for decades, and a great car is obviously great (to an experienced driver anyway) at any speed. ’69 Lotus Elan? Yep...great. 74 Carrera? Great. My Mini Turbo...a 9 year old 3 series...you don’t need to race them to know they’re excellent, and don’t need to hear speakers at 103db to know they’re working. The "going back to simple gear" concept isn’t lost on me, but you have to appreciate that, for example, a modern single ended hand wired tube amp has better everything in its construction, and speakers that were originally designed in 1957 now have upgraded components and sound WAY better than back in the day. Possible exceptions do exist as old tube guitar amps are often pure magic, but hey, so are lots of new ones.
In the early 70’s, Bill Graham used Monday nights to audition local (Bay Area) bands. The ones who passed were given slots on regular nights, opening for national acts. The Fillmore was a Union building, so to be able to perform there bands were required, if they didn’t already belong, to join the union. Most semi-pro bands, playing bars, clubs, weddings, corporate gigs, etc., never have to.
I knew some guys in a San Jose band who did the audition night at The Fillmore, joining the Union just to be able to do so. Induction fee, plus monthlies (whether you work that month or not). They played their set, and went home to hear back from the Graham organization. They instead heard from the Musicians Union, who fined them for playing below scale! Graham paid bands peanuts, auditioning bands actually willing to play for free to get on the Fillmore stage. Graham KNEW he was playing below scale, and that the bands would therefore get fined, and couldn’t care less. Ah, the life of an aspiring musician ;-) .
Speaking of pay.....for those who think being a professional musician in a big name band pays well: Denny Seiwell, the L.A. studio drummer McCartney plucked out of that environment for his early 70’s band Wings, gave an interview in which he disclosed that Paul was paying him $150 a week. He eventually quit, being unable to afford to work for Paul.
We had to re-join the union every time we got a gig opening for a big act, and generally it cost about as much as we made for the show. I made more playing 5 or 6 nights a week in Honolulu clubs than friends I knew who toured in major acts. A couple of years ago I was talking to the brilliant drummer Dave Mattacks in a Portsmouth NH club and he said he couldn't get gigs in London so he moved here...he was in Fairport Convention, played with Wings, Jethro Tull, Elton John, etc...crazy.
Damn Wolf, Mattacks is a GREAT drummer, one of my favorites. He has also worked with Richard Thompson, who was of course in Fairport Convention. He not only plays real well (musical, tasteful, ensemble-style), he also knows how make his drums sound good for recording. Not everyone does. He plays like a studio drummer, not a Rock Band member. I view him sort of as the British Kenny Buttrey (Nashville studios; Dylan, Neil Young’s Harvest album, thousands of other recordings). He plays the way songwriters like drummers to play---complimentary.
My sister was in the Navy, and in the late-70’s/early 80’s was stationed in Hawaii. For my birthday in 1980 she paid my air fare to fly over for a week and stay with her in her off-base apartment. One night I went to a nightclub to drink and see/hear some live music, and there was a singer backed by a 3-piece band. They played current hits plus Classic Rock, and were okay. On a break the guitarist came over and asked me my name. I told him, and he said "I thought that was you!". I had no idea who he was.
Turns out he was this kid who lived near the house the band I was in in 1971 practiced, a kid who would come over and watch and listen to us work on our all-original material. Small world! He told me playing his band’s material, and with that singer (singers are often not musicians, and are a different kind of guy. They are not singers for no reason ;-) was a grind, but that he was making 3 grand a week. In 1980. I was pissed! He said getting musicians to come to the islands was so difficult that clubs were willing to pay that much to get them to.
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