How do you judge your system's neutrality?

Bryon, I have some more thoughts on the "excess contrast" issue, but in thinking about it, I realized there were some holes in my understanding of the operationalization (is that a word?) itself:

1) In the original post, you mention instrument timbres specifically sounding more distinct from one another, and then go on to say whole songs and albums sounded more unique and your collection, more diverse. Is that all a consequence of the change in timbres, or were there other characteristics that contributed to the uniqueness/diversity? (If it is reducible to timbre, then wouldn't the operationalization of neutrality be, "Instrument timbres sound more distinct?" And then wouldn't criteria #1 and #2 be consequences of increased neutrality rather than standards by which we identify it?)

2) Is criterion #2 a consequence of, in whole or in part, criterion #1? If so, and in whole, then a similar reduction might be possible. If not, or only in part, what are the additional characteristics that contribute to #2?

Kijanki wrote:

Defining neutrality reminds me TV discussion on the subject of "good taste" where serious people tried to define it (it does not exist).

Again, I would ask: Does coloration exist? Colorations are additions or subtractions to the playback chain that conceal or corrupt information about the music. I have given at least six examples from both equipment and listening rooms: intermodulation distortion, speaker cabinet resonance, crosstalk, room modes, flutter echo, and comb filtering. There are undoubtedly many more. Do these phenomena exist? If they do, then neutrality exists, as it has been defined on this thread, namely, THE (DEGREE OF) ABSENCE OF COLORATION.

Kijanki wrote:

My Benchmark DAC1 was praised by studio engineers and often called by people sterile and uninvolving. Studio engineers made once experiment in the studio recording guitar live and playing thru different DACs (similar price range). Benchmark was the most accurate but people liked other DACs more.

I have addressed this issue many times on this thread, including in my very last post, where I wrote:

...if a consensus were reached about which component was more neutral in an A/B test, it does not follow that the more neutral component is the "better" component, since there are other sonic virtues that are, and should be, considered when evaluating components.

Cbw – Excellent post. And yes, “operationalization” is a word.

Cbw wrote:

In the original post, you mention instrument timbres specifically sounding more distinct from one another, and then go on to say whole songs and albums sounded more unique and your collection, more diverse. Is that all a consequence of the change in timbres, or were there other characteristics that contributed to the uniqueness/diversity?

The changes in uniqueness/diversity that I noticed were not limited to timbre. They included nearly every aspect of the recordings. Some of those changes are, no doubt, attributable to improved RESOLUTION, but I believe that others are the result of improved NEUTRALITY.

Cbw wrote:

Is criterion #2 a consequence of, in whole or in part, criterion #1?

No, criterion #2 is not a “consequence” of criterion #1, because the relation between criterion #1 and criterion #2 is not CAUSAL. That is to say, criterion #1 is not the CAUSE of criterion #2. Criterion #1 and criterion #2 are really just two different ways of identifying the same thing: INCREASED DIFFERENTIATION.

If there is a causal relationship relevant here, it is that increasing neutrality is the cause and criteria #1 and #2 are the effects.

Cbw wrote:

…wouldn't criteria #1 and #2 be consequences of increased neutrality rather than standards by which we identify it?

This is a false contrast. That is to say, X can be BOTH a consequence of Y AND the standard by which we identify it. In science, this is the relation between observables and theoretical entities – observables are both a consequence of theoretical entities and the standard by which we identify them. If you have concerns about the circularity of that relationship, then you are not alone. Philosophers and scientists have worried about that for quite a while. One way to mitigate the circularity is to find corroboration of the existence and nature of theoretical entities through an interrelated set of other theoretical entities and observables. To apply this to our discussion: Neutrality is the theoretical entity and criteria #1 and #2 are its observables. But this does not throw doubt on the existence of neutrality, since it is corroborated by an interrelated set of other theoretical entities and observables.

Learfool 12/24: The bottom line here (going back to the OP) is that many of us feel that just because you change one piece of equipment in the system, making 1) individual pieces of music sound more unique, and 2) your music collection sound more diverse, this does not mean you have operationalized the term neutrality. It just means you have a better sounding system.

I think that this statement gives increased credence to what was implicit in my post in this thread dated 11/26, that perhaps the most fundamental reason for the disagreements we have seen in this thread is simply disagreement about semantics.

I proposed at that time substituting the word "accuracy" for the word "neutrality," meaning that Bryon's proposed methodology be viewed as a tool that can facilitate evolution of the system + room such that they can accurately reproduce what is on the recording. Which of course does not by any means necessarily constitute the end-point in the evolution of any particular system, but narrowing system inaccuracy to some degree is certainly an important part of that process. At least until the tolerance has become small enough to be overshadowed by other factors and preferences, whether subjective or objective.

Bryon then guided that thought to the point where it was agreed by at least some of us that neutrality represents the degree to which coloration is absent. With accuracy referring to the degree to which a component or system is both resolving and neutral, resolution referring to the amount of information presented by a component or system.

There was further discussion of the distinctions between accuracy, which focuses on minimizing differences between what is on the recording and what is presented to the listener's ears, and transparency, which focuses on minimizing differences between what is presented to the listener's ears and the original musical event, thereby encompassing issues with the recording as well as with the system and the room. And in turn it was recognized that inaccuracy in the system + room might in some cases be complementary to inaccuracy in the recording, with the two sets of inaccuracies tending to negate one another.

Given all of this, I would ask those who have opposed Bryon's proposal, as expressed in post 1 of this thread, to consider whether there is any wording change, or any change in their initial interpretation of the existing words, that would allow everyone's position to converge.

My basic feeling about all this is that Bryon has proposed a methodology or tool which can be helpful in working towards the goal of optimizing a system, and by "optimizing" I mean subjectively maximizing the degree of enjoyment that system will provide to its owner. Is there a way that Bryon's proposal/tool can be accepted in that spirit? Learsfool's paragraph that I quoted at the beginning of this post gives me some degree of optimism that it can be, and I think it certainly should be.

Regarding the last sentence in that quoted paragraph, my response is QED!

Regards,
-- Al

Al, I for one, have no reason why I couldn't agree with your proposal as suggested in the 1st sentence of your last paragraph.

Loosly interperted I see that proposal as agreeing that one can improve the quality of his audio system by the addition of components which have better audio characteristics that those that were replaced, without regard to whether it was because of any specific attribute or symply because of better synergy. Bryon attributes the improvements to 'neutrality' and I think that is where we start to go different paths.

Unfortunately I get lost in the symantics, i.e. the differences between transparency, resolution, neutrality and accuracy, as well as their utilization by folks who consider themselves to be either objectivists or subjectivists. I think we all use them differently even though our use may be considered inaccurate or inconsistent.

It appears that Bryon considers himself an 'objectivist' and his goal of 'neutrality' is the correct one, for him at least. And I say good for him! He has a defined a goal.

Unfortunately, there are often underlying issues inherrent in this type of thread which are often decried loudly and crudely. I do not know that this is the case here, but frankly I concluded long ago that this thread was an artful construct to further an unattractive goal. But, that is just me, my cynicism may be misplaced. The poster is relatively new to the forum. Time will tell.

Bryon attributes the improvements to 'neutrality' and I think that is where we start to go different paths.

I think it would be more accurate to characterize Bryon as attributing certain kinds of improvements to neutrality, and that those improvements should be weighed with other system characteristics in tuning playback to maximize listener enjoyment.

Unfortunately, there are often underlying issues inherrent in this type of thread which are often decried loudly and crudely. I do not know that this is the case here, but frankly I concluded long ago that this thread was an artful construct to further an unattractive goal.

What does "artful construct to further an unattractive goal" mean? Is there some nefarious plot going on here of which I was previously unaware? I thought we were discussing ways of identifying the relative impact of a particular system characteristic.