Music is art. Audio is engineering.

W9TR

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I’m an engineer by training and a music lover. I may even be an audiophile, although I hesitate, as that term has become pejorative.

If you listened to FM radio in the 80’s and 90’s, before IBOC, there are better than even odds that you were listening through products I designed, especially if you listened to classical or NPR stations. I think this brings a unique perspective around audibility and measurements, what they tell us, what they don’t.

I am constantly surprised by hearing improvements that my engineering brain and current industry measurement practices just don’t capture. Why does my Topping D50 DAC sound like shit, and my Schiit Modi 5 sounds fantastic, even though they measure the same? At the same time, I’m amazed by the number of charlatans pushing products that have a tenuous connection to reality. I’m looking at you, Brilliant Pebbles.

Like any group of passionate people, here at AS we sometimes get caught up in the objective vs subjective debate. Both viewpoints are sometimes wrong, and I’ve tried to articulate this in a meaningful way and come up short. Every time.

Que up the recent AES Convention Keynote by Lars Risbo, CTO of Purifi.
Get a cup of coffee, it’s about a 15 minute read. Let me know what you think.

 
Excellent.

Now consider what the ear can actually do. The auditory system can localise sound direction at frequencies as low as 30 Hz — a wavelength of eleven metres — using inter-aural time differences measured in microseconds. Ten to twenty microseconds. Our hearing has been shaped by evolution to detect things our signal-processing models don’t account for. The ear is not a spectrum analyser. It is a pattern-recognition system with extraordinary temporal resolution, and we understand it poorly.

Mic drop
 
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