Nearly all manufacturers do not advertise/exhibit their product measurements? Why?


After my Audio Science Review review forum, it became apparent that nearly the only way one can determine the measurements of an audio product is wait for a review on line or in a publication.  Most equipment is never reviewed or is given a subjective analysis rather than a measurement oriented review.  One would think that manufacturers used tests and measurements to design and construct their products. 

Manufacturers routinely give the performance characteristics of their products as Specifications.  Those are not test measurements.

I searched the Revel speaker site for measurements of any of their speakers and could not find any.  Revels are universally lauded for their exceptional reviewed measurements.  Lack of published manufacturer measurements is true for nearly every speaker manufacturer I've searched for on line, perhaps several hundred.   Same is true for amps, pre-amps, DACs, transports, turntables, well you get the picture.  Do they have something to hide?   I doubt the good quality products have anything to hide but poor quality products do.  

ASR prides itself in providing "true" measurements that will aid in purchase decisions.   Why don't the manufacturers provide these measurements so that reviewers can test if they are truthful or not?

Then there are the cables and tweaks for which I suspect that there are inadequate tests available to measure sonically perceived differences but which objectivists believe don't exist or are "snake oil."  

Well, please chime in if you have some illuminating thoughts on the subject.   

I would have loved to see manufacturers measurements on my equipment and especially those that I rejected.  

fleschler

@fleschler 

That he is a fool too? 

Folks used to think you caught a cold because the air was cold.  This didn't make them a fool.  They just didn't know that it was caused by a virus.  Every bone in their body thought it was the cold weather because that is when people generally caught cold.  It made layman sense.  But simply was not true.

Professionals in every field know of things that lay people think are true but they are not.  In audio however, folks walk around ignoring what the science/engineering says.  They think they are so smart that they have figured out things that eluded those people.  

So no, he is not a fool but was fooled by you.  He didn't know everything I just explained.  You do but still go on causing people to believe in nonsense and cost them money.

I've heard $15+K cartridges and they did sound great with my hot stampers.  They don't typically sound as good with my lesser pressings, mono LPs, etc.  That is why I chose to step down to a Dynavector 20X2L.  One friend who is an LP only expert who is seen all over the Southwest at shows selling high end jazz as well as rock and classical agreed that his Dynavector 20X2H played more LPs better than his current Dynavector XX2L.  When the latter wears out, he will return the former.  Three other friends with 3,500 to 8,000 LPs also use the same cartridge, one stepping down from the Dynavector D3.  The 20X2 sounds great on so many LPs.  

@fleschler it would be neat if we had a way to avoid the first $15k cartridge and just go straight to the better one - which is also cheaper… sometimes cost is not the best metric.

If you are interested, you can see measurements in his listening room (with and without room EQ via the Lyngdorf)

I have not used room EQ for 2 channel yet, but on the AVP it works well.

Maybe I can set up the AVP to output another “zone” as 2 channel with room correction… like a 2.2.0 setup?

But I sort of like a bare 2 channel set up, and would need to try to see if it is good.

@holmz  I agree.  The $15K cartridge sounded great in a $1+ million system (Clearaudio Goldfinger Statement on a Kronos top turntable). Using my LPs, it couldn’t sound more realistic and involving. Maybe it would have sounded great on my other old and/or poorly pressed LPs. I know from experience and friends who had more expensive cartridges that they preferred certain LPs over others. While sounding great on some, they sounded blah or irritating on others. My Benz Ruby3 did not like SUTs. It preferred playing through an active step up in a phono pre-amp. The Dynavector loves my Zesto Allesso SUT.

@amir - YOU ARE SO FULL OF YOURSELF!!!!!You mad a change, he listened more carefully and now he "heard" more detail, air, etc. Nothing had changed in the sound. It was him that changed because our hearing is elastic and 2-way. A comparison causes our brain to work differently and hence we perceive things differently. Sure, my friend is such a fool too, he’s an electrical engineer with a net worth north of $50 million with 552 apartment units, multiple homes, etc. He is so stupid he can’t tell when his system sucked (3 friends and myself did not appreciate the ragged/bad bass and mushy, distant/behind the speaker floating in the air sound). He swapped equipment annually for $10,000s and lost $26K on one amp in 2020. After Covid, he replaces junk power cables with quality ones and he is 100% mislead by his imagination. NO NO NO!!!!! You are full of hot air (and that’s being nice)!

You service your miscreants and sane members of ASR. I am not an authority on measurements like you say you are. But I bet that I am more an authority on creating a great sounding system with new or used equipment! I have friends in the remastering and audio equipment manufacturing business, the latter who put your puny knowledge of audio equipment to shame. When was the last time you developed your own amp, pre-amp, phono stage, DAC, turntable, arm, cables (oh anyone can do that-not!). Never? My friends in the business know a lot more than you do and they say I have a very good ear for sound. You’re just the Wizard of Oz.