Trelja: For one thing, there are lots of reasons besides the sound to choose one component over another. For another, many audiophiles attempt to judge the sound of a component in a way that allows factors other than the sound to intrude on their perceptions. (They will tell you they can ignore those other factors, but the truth is our brains are not wired that way.) The point I was making was that if they want to listen that way, that's their business, and nobody should tell them, "Oh, but you should listen double-blind" or whatever. But if they want to pontificate to others about what things sound like and which things sound different from other things, then they need to do their listening in a way that takes into account what psychologists have learned over decades about the foibles of human hearing. Otherwise, their observations are completely meaningless to anybody else. And to get back to the original point, that is the difference between The Audio Critic and, say, The Absolute Sound.
"The Audio Critic" B.S. or what?
Has anyone ever heard of this magazine? In a nutshell, their premise is that audiophiles are ridiculous. They claim that all high-end equipment is marketed to audio magazines and their foolish readers. One particular area they sounded off about was cable and interconnect theory. They claim that spending hundreds and even thousands of dollars for cables is a joke and is a total waste of money. They claim that companies like Kimber are selling us a bunch of "snake oil." I just breezed through a copy and now it's got me wondering if we audiophiles are just masturbating each other with our concepts and discussion of "high-end" equipment and cables. Please tell me this is a bunch of sh*t. I'd like to think that we're getting at least a bit of "high-end" for our hard-earned $$$$
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- 83 posts total
- 83 posts total