Words From the Wise

Thats pretty good Infinity Audio. One more thing. Find someone to share the excitement with or it will become a labor of love that you alone must experience. Also read as much about whatever it is in audio that interests you . Be it vaccum tubes or the Absolute Sound. Buy back issues of say... FI magazine . This continued reading excites you into listening and learning . The more you learn the deeper you go and the more you will get out of it .... or put into it! $$$$.

From the perspective of a psychologist who is somewhat new to high-end audio, I have the following to offer:

1. Take your time to choose and keep organized. At least three to four months allows for good research and plenty of time to listen to things. It is also fun to search for various components and learn about the different nuances of each. As buying hi-end equipment is a big investment and there is a lot of equipment out there to choose from, take notes or do some sort of rating system. Personally, I rate on themes such as "emotional impact" or "goose bumps" in addition to "soundstage", "transparency", and "musicality."

2. Audition speakers (or other components) in your home for as long as possible. Factors such as your mood, time of day, or even being hungry can influence your perception at any given time. Having the component in your home for several days or more allows you get to know the component in the confines of your room and equipment, which is likely much different from the sellers. If you fall in love with a piece, its time to buy, unless you love two of the contenders.

3. I f there is a tie between two or more components, try to audition them blind - if possible. This is difficult to do, but worth the hassle, and can only work if you are choosing between several components at the same store (e.g., different models of a CD player) or amongst various friends components. Not knowing which one of the two or three contending components that you are hearing removes any bias that you might have formed. (Of course, someone will need to tell you later which was component A, B or C.) In essence this makes your choice cleaner and based on your reaction only to the sound. It is easy to become influenced by "expert" salespersons, a friends opinion, or some other factor.

4. Someone else said this (12-14-01: Justlisten), and I agree - don't listen to salespersons opinions about equipment that they don't sell. I've experienced too many salespersons subtly or blatantly putting down perfectly good equipment. (E.g., one guy told me that he was "embarrassed" by the fact that had previously sold B & W speakers (which I mentioned that I had auditioned). This can be a manipulative strategy designed to create doubt about the other product.) The best salespersons have just let me listen and decide for myself, or may discuss the qualities of their product. If a salesperson tells you something "bad' about the competitors equipment, it's probably best to assume that s/he doesn't really have your best interest in mind.

5. Use several different types of music during auditions, and use the same pieces for each audition. Select amongst songs that you know very well. I like to use instrumental jazz, good male and female vocalists, classical, and rock and roll. This helps to capture the range, dynamics, and emotional impact of the component that your listening to. Ultimately, in my opinion, it is our emotional response to the music reproduced by the various components that makes buying audio equipment worthwhile.

I just wanted to say great thread, very good info, thx all, Bob

Didactically-
cant you hear this thread calling you?

Lots of good advise so far.

1A) Patience.

1B) Patience.

1C) Patience.

1D) Patience.

1E) Patience.

Ok now that the most important issue is out of the way.

2) Educate yourself in how and what to listen for in music. The Artist and Sound Engineer don't give us instructions on how there tone should sound, the location of the instruments within the sound stage what a Straticaster (SP) sounds like verses a LesPaul (SP), what a Fender tube amp sounds like verses a Pevy (SP), Why an artist might change the pickup in their guitar to alter the tone of the instrument or why they choose a specific cable to bring forward the midrange of their guitar, how to listen to a grand piano with the lid of the cabinet closed verses open and the irritating resonance (that interfers with the sweet decay of the note) of that piano with the lid closed even when it is a Steinway, what kind of microphone was used, what sound board, what monitors, what effects. Ok I think that covers (2). If you don't get the point yet sell your system and invest in your significent others listening room.

2A) Patience.

3) The accoustical environment that the recording was done in. Is the room alive, dead or some where in between. Are the artists in there own rooms in the studio where each has its own acoustic signature. Can you tell if a kick drum has the back cut out, does it have a blanket or foam in it, is it reflecting and reverberating from the paint on the walls, is the mic in the room picking up those reflections or is there accoustical foam absorbing the snare softening the sound. Or are the musicians in a single room where the main mic picks up the sonic signature of the other instruments within a given room. How has the engineer set instruments (The human voice is also an instrument) within the sound stage. Is the engineer affecting the tone of the instruments through the board or is the engineer working with the artist to achieve the tone they are after in a given song. If you have not gotten it at this point I recomend investing in a good boom box phillips would do nicely.

3A) Patience.

4) Your ears should not hurt even during long loud listening sessions. If they do "THE TONE OF THE RECORDING IS DONE IN SUCH A WAY AS TO PROVIDE A BRIGHT HARSH SOUND" In other words what equipment was used by the sound engineer (Ears are equipment) does the engineer have hearing damage at certain frequency ranges. Ok for those that have hung on this long I assume you get it, now it is time to accept the following realities.

4A) Patience.

5) Ok learn what quality recordings and tone are all about. What are the artist and engineer trying to achieve. What equipment and environment were used. Audiophiles IMHO are engineers whether we want to admit it or not. Trying to achieve and accurate reproduction of the recorded music. If you are easily offend read no further.

5A) Patience.

The slam!! Does everyone get it yet. You are an engineer. The producion of sound or should I have refered to posts 1-5 using high end audio equipment and listening room acoustics.

The ultimate slam!!!! The musical reproduction system is only as good as the sum of its components. (The Human Ear is a component), the room is a component. Without good listening habbits and the right environment within which the reproduction of music is to be done, it doesn't matter how much you spend on what. Now lets see is the problem the recording engineer or the reproduction engineer. DAM ENGINEERS WHAT ARE THE GOOD FOR, JUST GIVE ME THE MUSIC AS IT WAS MENT TO BE HEARD BY THE ARTIST. OH I FORGOT :-( I HAVE BEEN ENGINEERING MY NEW SYSTEM FOR THE PAST NINE MONTHS TRYING TO DO JUST THAT.

It is a journey and the education along the way is worth every penny spent.

Ladies, and gentlemen good luck in your searches may your ears guide you through life.