@mijostyn — got you. So…there's "good kabuki" and "crappy kabuki". I want to do "good kabuki"!
Will look into Psychoacoustics
@tvad -- Your advice is sound. I'm just looking to make conversation that will (as you say) become really operative in the future. And, nope, I don't have the speakers yet. Everything is shut down in MI and Salk's timeline for production is already a multi-month deal. He has 1/2 my deposit, so I hope it moves forward quickly after things get going again.
@kren0006 -- I have a Rel R-328 sub. Ever see them used? I bought mine used but want another, without paying full price.
@minorl Your advice is good and sensible. What I'm seeking are ways of implementing criteria for how things sound beyond line level matching. If one looks at Harley's book, you can see various ways of describing treble, midrange, bass, soundstage, etc. There's a fairly precise vocabulary that reviewers use. But it's a complicated array of terms and a bit cumbersome to establish and then keep in mind. Especially with the issues raised by auditory memory. I realize that my ambition will seem overblown to most people -- they're content to equalize out the factors you mention, eliminate big variables, etc. I'm seeking to (a) create a workable set of perceptual criteria, conjoined with (b) an apt set of useful descriptive terms, so that I can (c) try to overcome the adverse effects of time lag between comparisons. Anyone not on an audio forum would have run away from me by now, so I'm grateful that some here are willing to inquire or trade stories about what they did.
@tommic601 Thanks for those suggestions — I'll take a look.
Will look into Psychoacoustics
@tvad -- Your advice is sound. I'm just looking to make conversation that will (as you say) become really operative in the future. And, nope, I don't have the speakers yet. Everything is shut down in MI and Salk's timeline for production is already a multi-month deal. He has 1/2 my deposit, so I hope it moves forward quickly after things get going again.
@kren0006 -- I have a Rel R-328 sub. Ever see them used? I bought mine used but want another, without paying full price.
@minorl Your advice is good and sensible. What I'm seeking are ways of implementing criteria for how things sound beyond line level matching. If one looks at Harley's book, you can see various ways of describing treble, midrange, bass, soundstage, etc. There's a fairly precise vocabulary that reviewers use. But it's a complicated array of terms and a bit cumbersome to establish and then keep in mind. Especially with the issues raised by auditory memory. I realize that my ambition will seem overblown to most people -- they're content to equalize out the factors you mention, eliminate big variables, etc. I'm seeking to (a) create a workable set of perceptual criteria, conjoined with (b) an apt set of useful descriptive terms, so that I can (c) try to overcome the adverse effects of time lag between comparisons. Anyone not on an audio forum would have run away from me by now, so I'm grateful that some here are willing to inquire or trade stories about what they did.
@tommic601 Thanks for those suggestions — I'll take a look.