It's often an argument between pro audio and HiFi. If a recording mixer was made using the same methods and principles that pertain to HiFi, it would cost several $M.
When they listen to their million $ stereo, they should realize the signal probably went through dozens of electrolytics caps, TL07x and Blackmer VCA's.
I thought most of this was settled last century. It was always amusing to hear about audiophools, complaining that they could hear the degradations from running audio through a single switch contact. They would be depressed to learn how many switch contacts audio must negotiate to get through a typical recording console.
The big analog desk market has been in free fall for a couple decades. The small handful of people I know who built their own consoles, only did it once after the learned the total effort involved. Modern digital mixers (like Behringer) deliver remarkable bang for the buck and decent performance.
To everyone in this conversation - some very good points. I still use MIT Multicaps made by Rel-cap. Each type sounds different.
HOWEVER : Stop trash talking audiophiles. Those that do have no idea what they are talking about.
I will trash audiophools all day long... I don't consider all audiophiles "phools". At my last major day job I had a resident golden ear that I used when appropriate. (He happened to be a degreed engineers and did some good engineering in Peavey's transducer engineering dept).
The initial post of this whole thread is about making something that sounds the best it can.
The unarticulated dispute here is designing using object science (bench test measurements), versus a general disdain for
This response is addressed to those who poo poo hi end audio, call the art form fraud, audiofoolery. What irks me is attitude of the engineers that claim cables, connetors and caps, etc. don't make an audible difference and they think they know better because it doesn't fit into their limited model of thinking - base band audio is too simple or ESR in caps is no longer important, or they can't measure it. etc. Wire is wire, a cap a cap etc.
Show me the data... I wrote about several of those topics back in the 80s in my "Audio Mythology" column.
I'm bugged at all the arguments I see about cables, caps, amps from so many who never worked in high end audio. If you've never been to a hi-end stereo trade show then you're opining about something you know little about.
I haven't been to one this century, but recall seeing my share of high end rooms at old AES shows in NYC when I used to regularly attend (I probably saw you there).
Here is a personal anecdote that shaped my distaste for the esoteric audio market sector. Back last century I was manufacturing a modest priced phono preamp ($150) that was extremely linear and very RIAA accurate. That preamp received two magazine reviews that couldn't have been more different. One reviewer said violins through my preamp sounded like "sawing on wires".
Coincidentally without my knowledge my preamp was shared with a highly regarded reviewer, who compared my preamp favorably to a $5K high end favorite. That surprise good review (in TAS) came a little too late for me. I had already decided to walk away from that business. My estimate for how the same preamp (it was literally the exact same unit) could receive such different reviews. My judgement was that both reviewers were accurately hearing the performance of their personal phono carts, speaker systems, and rooms. The better reviewer likely had a better room and better playback system.
The thing I preferred about working in professional sound reinforcement is that you can't BS hundreds/thousands of people in a large auditorium, like you can in a small listening room.
Did you spend hours trying different caps and cables? Did you tune your amps for a sound that draws you into the music? Did you have electrostatic speakers to listen through? What is your source material? Did you audition music from master tapes, CDs, uncompressed? E-stat headphones? Go to the trade shows and get opinions about your product? Have reviews? Do the attendees want to stay in your room or get up and leave fast?
No
What's is wrong with doing something better than average if it pleases you? That's what all the mic people are doing here.
I used to operate a kit business and there is a certain amount of satisfaction gained from DIY audio (hey I built that)..
The hi end boutique corner of the world - Yes, there's some claims that don't stand up but there is also spectacular sound in many different flavors that is much better than what industry standard control rooms have. I did it for 40 years - design, manufacturing, trade shows, modifications updates. And I'm respected in that world. I'm a musician besides being an engineer so I rely on my ear for the final evaluation. WTF else is MORE important? NOTHING BUT YOUR EAR.
I have some old studio monitors in my living room but rarely listen to recordings. I used to throw huge beer parties with live bands jamming in my living room. Compared to the live bands my hifi system sounded a little puny.
The hi end audio is about art, pleasing the senses, the meters just help you get there. If you can borrow a design idea from the art world and have it make your idea or product better without sacrificing anything significant then why wouldn't you??
I recall back last century in a discussion about meter readers vs golden ears, I opined that we (product designers) also need to understand ergonomics and human factors engineering to deliver the best customer perception of the products. To that end I put gold plated RCA jacks on my last phono preamp, not to be better electrically but to improve customer perception. Likewise in console design gain law curves, and EQ voicing can have an impact on customer perception.
There is actually a lot of science studying human perception, ranging from audition to the man-machine interface.
JR
