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What's your process for comparing new gear, cables, etc.?

It's a staple of many if not most posts to compare auditory experiences and attribute them to different factors — larger components (room, speaker, amp, dac, etc.) and the rest (speaker wire, cables, power) etc. This is how we choose new gear or compare what we already have.

Given the number of components and how short auditory sensory memory is, any comparison should change the fewest variables possible, as quickly as possible. (And auditory memory is short, even for simpler sounds. We compare using complex sounds and want to judge complex dynamic effect — soundstage, tonality at various frequencies, overall character or musicality, etc.) Doing things quickly is a challenge with tube amps, which must be shut down properly in order to swap things out. Then, they must be turned on and warmed up a bit.

I'm curious how people conduct their comparisons given whatever factors they contend with. Do you take notes? Have a standard vocabulary (e.g. the one in Harley's book)? Use a checklist? Have certain test tracks that you have virtually memorized? And so on. I'd like to know what works for you.

Most of the time, I'm just listening to music and enjoying it. But when I do want to add gear or make a change, it's natural for a critical comparison to call for some kind of procedure. I'm still trying to figure out what procedure can provide reliable, practical information. When my procedure seems too random or complicated, I feel a bit absurd — like I'm just doing kabuki-science! 


128x128hilde45
millercarbon's avatar
millercarbon
12,531 posts
 
If you say so. I play music. I listen. I have no problem hearing, differentiating between different components, and certainly no problem remembering. I found the story of not being able to remember sounds to be totally false. It holds a lot of guys back, maybe more than anything else. Because instead of just getting on with the business of listening and comparing they set up all these unnecessary roadblocks and qualifications. Then on top of that if they do manage to hear something instead of acknowledging it and working off their actual experience they try and disqualify and discount it with even more roadblocks.

So it just seems to me that since this one false premise, no auditory memory, is so demonstrably false and counterproductive and yet pervasive that it deserves to be dealt with decisively and destroyed as fast and well as possible. Sorry if my methods don't meet with your approval. But it is a bad idea, and needs to be put down. One way or another.

Otherwise, what is the point? Why would anyone put any time or energy let alone money into their system? I mean seriously, what is the point? 
To be able to say, "I spent a ton of money on a system that sounds good, or at least I think it does, if only I could remember???"

Sorry clearthink, really, but if you can think of a nice polite way to clearly state this idea is patently false, misleading and actually harmful I would sure like to hear it.


jetter
3,033 posts
 
clearthink & stereo5

My system has been transformed thanks to millercarbon. Like a hypnotized groupie automaton I click on every of millercarbon's links to his virtual system. From careful study of his every tweak, I have installed his red and gold striped Christmas wrapping paper wallpaper tweak to my listening room. Same color, same thickness. Thanks miller.
tomic601's avatar
tomic601
12,911 posts
 
OP strict level matching is essential. Lots of good tools to help with this that IMO should be part of the arsenal. Test tones, SPL meter, DMM, and an RTA with a calibrated microphone ( I use the Studio Six set of tools which run on an IPad ) 

As you probably already know, the ear brain likes louder and louder is just chasing your tail from a qualitative perspective, unless you can level match. My mentor (RIP) in this critical area and a real stickler for matching to .25 db or better was Roger Modjeski.

and there are measures for speech intelligibility, using a recording of a familiar voice ( instrument, acoustic space, etc ) can be an excellent touchstone- I use a Zoom H-6. There is of course a big and obvious difference between recognizing “ mom” and understanding what she is saying.
tomic601's avatar
tomic601
12,911 posts
 
OP I will also commend you both on your journey and introspection- those tend to lead to self improvement:-)


tomic601's avatar
tomic601
12,911 posts
 
On single variable changes with cables it is best to gently demate/mate the baseline connects, allow some settle in time listen then make switch to the variable cable. One reason why I like Audioquest DBS system is that the battery is always forming the dialectic- this greatly speeds up a cable A/B.

its also a good practice to get on a demate/clean/mate maintain cycle for the whole system 
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