Turn down the Volume!

Just wanted to note that this is one reason trying to compare speakers online on YouTube is at best a crapshoot. Is that honkiness you hear in the midrange or shrillness or grit in the tweeter always present in the speaker or are they overdriving the Hell out of it? How good of a mic are they using? What is its frequency range, distortion, how good was the mic preamp and did they know how to properly use it? Without knowing to what level at 1m the speakers are being driven to there’s no way to do any real comparisons.

Then we have the Fletcher Munson Curve to deal with as we turn the volume down. If you don’t use tone controls or a loudness button (a variable one preferably), there will only be ONE volume for any specific source or recording that ticks all the boxes. Lots of variables (and your room) to consider. But yeah, I love to listen at 60 to 70 dB and still enjoy the music with some dynamics still present.

I rarely go above 92 dB for any length of time, rocking out, anymore. (Not that there is anything wrong with it in moderation for younger ears).

I learned a long time ago.  It is not how loud your system can play, it is how soft your system can play and bring you all the detail and expressions you want.

Good thing I practice that.  In my present living conditions, it is essential.  Or I'll get evicted.

I chuckle to myself when I hear or someone tells me, "It sound better the louder I play it". Sure, it does sound great.  Turn the level down, the bass disappears and image collapses.  Okay.... not for me.

There certainly are more fitting volume levels depending on the source material, as has been pointed to - for some musical content more rigidly than others. Watching movies the reference volume level is adjusted from the most natural dialogue reproduction SPL-wise around which the rest of the soundscape then "settles" itself, and this can lead to rather staggering macro-dynamic outburst while also accommodating proper intelligibility in quieter scenes.

The sheer breadth in sound design and the variety presented with movies, both with regard to dynamic bandwidth as well as the specific sound design elements can be an impressive experience to witness when capably reproduced, while also being a tough test for one's speaker setup and its abilities into versatility; where for most audiophiles music may be the exclusive tool to evaluate system performance, I include movies (Blu-ray's/4K UHD's) as an additional testing means, finding this to reveal more effectively reveal the truer potential and possible limitations of one's speaker setup (+ remaining gear and acoustics), and the qualities I deem important here. 

Unless as a background experience I prefer movies and well-recorded classical music reproduced at their more or less rigid reference volume levels, whereas other musical genres would seem more accommodating for enjoyment at lower levels. I love listening to jazz piano (like Keith Jarrett) at lower levels in the late evenings, as well as jazz in general, and fortunately I have the setup to make it come alive at lower levels. While as a system ability sonic proficiency of lower levels is vital to me I wouldn't want to be without the effortless presentation at the other end of the SPL-spectrum either.

To some loud playback may be regarded as the young individual's (fool's) game, but in measured doses and as mostly dynamic peaks emulating live events I find it to be indispensable reflecting musical (and movie) material. Indeed, since I started these audio endeavors my system has become better at playing at lower levels as well as loud beyond measure, which is what really matters in an effort to encompass most material.  

It’s always something. Auto tune is the new compression! Which was EQuing the old Compression lol

compression is a tool. Used well and judiciously, it shouldn’t be noticed by even good ears. There were loudness wars…mainly started by competing FM stations trying to pump up the volume which in turn led to artists wanting their songs to “stand out” vs the “competition.” Louder sounds “better” in comparison situations which is why AB testing requires volume matching A and B!

The transition from CD’s to streaming should, and is resolving this. Also I believe the FCC stepped in with terrestrial broadcasting. Most if not all streaming services have volume moderation algorithms in place.

Rick Beato has a good YT video on compression and Tim Pierce (maybe Rhett Schul) cover how compression on guitars is used in recording…all on their YT Channels.

I was going to post on a related issue. But what the heck it involves loudness.

Anyway, I happen to like the sound of tubes combined with good solid state. For years, I have had a CJ tube preamp into a Krell solid state set up. Recently I upgraded to a better CJ and discovered what I think is too often overlooked.

I also feel kinda dummy like not knowing this fact of life but…the output impedance of a pre amp needs to be matched to the impedance of the amp. (A side issue is the current delivered to your speakers..not so much the rms stuff).

I found I could not set the CJ volume control  at any reasonable level without getting an unacceptable overall volume level from my speakers. I called CJ and they recommended attenuators. I now use them to lower the input into the Krell by 10db.

I believe there is a volume sweet spot for most systems. My Swart guitar amp at 5w    
combined with the guitar pickups/volume has a definite point where clarity begins to  gradually enter a realm of very nice distortion. 

I think many of us need to consider where our systems sound best. It is important to consider the source material. So many CD’s (especially) are just poorly recorded. It’s not the playback. A badly compressed cd will sound bad regardless of what adjustments we make in our playback.

My KEF’s sound good from 40-90+ dbs and get fatiguing above that. But my happy place is in the 65-85 db range, so I can listen all day long.