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
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.
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.
OP I will also commend you both on your journey and introspection- those tend to lead to self improvement:-)


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 
I appreciate the thoughtful responses. I will not respond to insults or condescension. I phrased my question carefully. And yet...

So, to the thoughtful responders: I will think about what’s been said and respond when I have a moment.
@tommic601 -- the specific mentions of equipment and techniques is very helpful, as is the encouragement.

In the meantime, I found this interesting piece: http://www.acourate.com/Download/BiasesInModernAudioQualityListeningTests.pdf

I have not read it carefully or fully, so I am not endorsing it, but clearly auditory memory is a complex psychological subject area.