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! 


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Listening covers a wide range of subjects and reasons. The only thing wider is the range of sonic characteristics we are able to hear. This goes well beyond easily measured things like the volume and frequency response so many obsess over, and into things like imaging, depth, focus, air, inner detail, on and on. The list is endless.

The biggest stumbling block I have seen, and it is prevalent, so depressingly prevalent, is the compulsion to doubt and second guess and attempt to explain away things you do in fact hear.

When I first started trying to listen for some of these things it was extremely frustrating. In hindsight the two things that held me back the most were the lack of vocabulary, the ability to understand and put into words the differences I was in fact hearing, and this false advice about the necessity of precisely matching everything. 

So what would happen, and this happened over and over again, I would go to some store and compare CDP or whatever and find one I thought sounded better. I was sure it sounded better, just not in any way I could put into words. So I would get my wife to come and listen. And always, every single time, she would indeed have the same preference.

And no, for you guys who think you're so smart, I know all the stories, every single one of them. More than you I bet. So I was careful to not say anything to let on which one I liked. Just I think there's a difference but I can't believe it and want to be sure so would you mind? And every time she would say well I like this one. Why? It sounds more expensive. More, quality. That's it. We knew. We heard it. We agreed. We just had no way of putting it into words.

One of the things I always truly believed even after a lot of other "common wisdom" had been proven false, was you had to listen at a certain volume level. 

Then one day it dawned on me. The one guy who had taught me the most, the best listener I ever came across, who always had the best components and knew every detail of how they sounded, Stewart Marcantoni, this guy never once listened above probably about 85 dB. I would always have to turn it up. When he came over I would always respect this and play a little lower volume for him than anyone else. 

I thought for a long time he was just protecting his ears. More and more it bugged me, how he is able to hear so much detail so well even at such a low volume. Until one day I asked and he told me that's part of it, saving his ears, but really you do not need to listen so loud to hear just fine. Around that same time I learned you do not even need to play the same recording over and over again. Or even twice. When you know the system and are a good enough listener none of this is necessary.

People find it good sport to insult and make fun of me. I am fair game. Everyone else can make fun of my system. I can't do the same. I get that. Doesn't change the fact the stories are true. That guy at CES, he really did hear a system for the first time and he really could tell on one hearing what was wrong and they really did fix it. 

Didn't need no matched volume. Didn't even need no A/B. For sure did not need any double-blind. All he needed was his ears. And listening skills developed to a sublime degree from decades of practice.

Anyone serious about learning, this is how you go about it. You can start with whatever crutches you need. Match volume. Play the same tracks until you never want to hear them again. Whatever floats your boat. Just don't come around here telling me its some kind of requirement. Its not. Its just some mental roadblocks you put in your own way. You put them there. You can remove them. Or not. Just remember they are your roadblocks. Not mine.
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@big_greg I agree. I’ve found as I put my system together, that people say things like, "Get 3 different cables and try them out." Etc. And I know that anyone who’s built a system has had to do close listening comparisons to try to hear differences — unless they’re just willing to buy something based on reviews, price, etc. And I also agree that A/B differences do show that there is a difference, but I have been reading about a multitude of factors which can be responsible — time, mood, other gear, etc. — and so sometimes I wonder what the cause of the change is — and even IF there really was a change. And everyone who pays attention to how they listen knows that there are times you *think* you heard something, but you didn't. Whenever one pushes the boundaries of one's perception and then tries to label it, there's a margin of error.

@tvad — glad to share.
In voicing a preamp design I just added a rotary switch in the back that I could rotate and hear five different resistors.  That way I was able to switch on the fly in different recordings without having to solder different ones in to see what I was hearing.  I left the switch in as I didn't think that I should decide on one or the other for the person buying the preamp.

Happy Listening
My prowess for comparing new gear, cables, etc is excellent...
Oh! "Process".  Nevermind.  ;)