Why audiophiles are different (explained with color)

.....’We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies - all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes. Most island universes are sufficiently like one another to Permit of inferential understanding or even of mutual empathy or "feeling into." Thus, remembering our own bereavements and humiliations, we can condole with others in analogous circumstances, can put ourselves (always, of course, in a slightly Pickwickian sense) in their places. But in certain cases communication between universes is incomplete or even nonexistent. The mind is its own place, and the Places inhabited by the insane and the exceptionally gifted are so different from the places where ordinary men and women live, that there is little or no common ground of memory to serve as a basis for understanding or fellow feeling. Words are uttered, but fail to enlighten. The things and events to which the symbols refer belong to mutually exclusive realms of experience. To see ourselves as others see us is a most salutary gift. Hardly less important is the capacity to see others as they see themselves.’.....A.H.

Learning about the music and the way how it is created or about its internal structure (from musicians point of view) I find fascinating. Putting objective on describing reproduced sounds and even calling it 'discipline' is slightly pretentious, to say at least...of course, imho......

There is truth in some of what has been written in recent posts about the subjective nature of perception and the difficulty in describing those perceptions to others in a meaningful way. Not impossible to do so TO SOME DEGREE, especially if a well chosen (as much as possible) descriptive vocabulary is developed based on agreed upon perceptions. Example: at its most basic, it would not be difficult for there to be agreement when there is an increase in overall volume, or bass, for instance. Obviously things get much more subtle and complicated that. Still, it would be a good start to build on. I have done precisely this with inexperienced listeners with success.

However, all this points to something that I feel audiophiles have unfortunately gotten away from and which used to be one of the foundational ideas of this hobby: the use of the live unamplified (acoustic) music reference. First, and to point out the obvious, this is not an argument against the idea of wanting a type of sound from our systems that pleases us without regard to a live music, or any other reference. Anyone is obviously free to enjoy their music with whatever type of sound that he wants. Moreover, if a listener has no interest in music genres that are acoustic/unamplified in nature then this is probably all moot. This  is, however, an argument against the idea that it is NOT possible nor valid, to use the live acoustic music reference. It most certainly is.  The detractors should remember that for some listeners THAT IS the most pleasing sound and that this is not just an exercise in some sort of “academic” pursuit.

There seems to be a knee jerk reaction to dismiss this idea by citing the subjective nature of perception. The problem with that argument is that one’s subjectivity carries over to whatever the source of the sound is at any moment. In other words, if for example, a certain spectral balance, or aspect thereof, is heard a certain way when attending a live performance of unamplified music due to any idiosyncrasies in our personal physiological hearing “mechanism”, it will be perceived the same way when listening to a recording. A valid comparison can thus be made. Clearly, there are many variables present when listening to live unamplified music; different halls, seating position, different reproduction equipment, etc. However, there is so much more information, particularly in the areas of timbral and rhythmic nuance in the sound of live unamplified instruments/music that enough of it survives the recording process and our imperfect reproduction equipment to still be able to make a valid comparison between what is heard live and what is heard from our sound system. Substantial familiarity with the sound of live is of course necessary; something which may be impossible or unappealing for some to pursue. Add electronic amplification to the mix (😉) and it makes it much more difficult, if not impossible.

Harry Pearson was right.

Take the Max Luscher Color Test - a classic in psychology.

We need words to communicate but words help us to engage in a pointed direction , like a maestro with his words and gestures conducting an orchestra.... But they are not the experience nor the music...

The Vocabulary of audio is useful to describe the electronic performance of the gear....thats all...

The performance of a system cannot be judged by amplified music or electrical music...

Why?

Because we are designed for a long time now to hear timbre voices in speech recognition....This is an evolutive fact...

All our music come from human voice not from electronic moog synthetiser....

I trust my ears listening subtle piano cues or voices in a choir to decide if my audio system is optimal not his way to give a great rock concert with electrical guitars in decibels and bass ....

Recognizing sounds frequencies is one thing, recognizing timbre is completely another thing and the two are not superimposable with one another or dont overlay completely with one another....

This is psychoacoustic scientific fact....

Music is not sound but through sound , and music is not also only signals in a sea of noise....Music is from another time than the physical clock, and from another space than the usual geometry of the physical world...And music speak about other colors than the one we know of in the physical world , like the precise color of the mother voice in Mahler kindertotenlieder....Listen in your heart and memory to the colored voice of your own mother adressing you when hurted to have an idea about music....Speaking of sound with acousti vocabulary after that is ridiculous...

Colors are not color they are world in itself....like a musical tone....And they are together a new body....

The great composers create new cosmos.... The great musician recreate our body.....It is what i look for....

Any attempt in enlightenment which attains group consensus... is inherently incorrect.