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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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.  ;)
I listen to certain instruments during playback. Since I was a musician for many decades I know what some instruments sound like. I don’t like boomy bass, I’d rather have clean solid bass. I know what a certain cymbal is supposed to sound like. In 1978 when I purchased my 1st hifi system, I brought in albums that had songs that represented the instruments that I listened to to see how the components presented these areas
What a wonderful experiment with the three sets of cables :-) Will be interesting to hear of the results.

the science of people preferring louder is quite well understood. All the ego in the world doesn’t erase that. The vocabulary word for that is louder, not better. Lots of speaker manufacturers still build in the “ smile “ because WE like it at 85 or 110 db.
Ditto for orders of distortion, the ear brain is a fascinating thing :-) people like distortion not in the original signal - ponder that.

One interesting single variable evaluation we are currently undertaking is  choosing a USB cable between mastering console and DAC - 4 meter cable - got to get it right !
? For the OP: do you have ability to download and play files ?  IF you do, A way to sharpen comparison and critical listening skills is the 2L Recordings downloads workbench - lots of files in different formats but w identical microphone/ signal chain. Grammy winners for a reason:-) try comparison between DSD and a high Rez PCM if your DAC can do it. Fun and some fantastic recordings by world class talent in rich reverberant spaces.