ralphpnj wrote: 
>  The quote from Robert Harley read: "Those who attempt to remove human
> "subjectivity" from audio engineering forget that the listener isn't a
> passive observer, but a fully active, engaged, and even creative
> participant. From nothing but patterns of varying air pressure, we
> conjure in our minds living and breathing musicians. The traditional
> yardsticks of sound quality are meaningless without recognizing the
> vital role our imaginations play in music listening."

Yes, our brain actively influences how we perceive how we hear. No one
should dispute that. However, the one big drawback of subjective
reviewing is that Mr. Harley's vivid imagination -- i.e., what his brain
does with all of those non-audio factors such as appearance, knowledge
of brand name, price and so on -- is impossible to reliably transfer to
other listeners. The good vibes that Harley's subconscious attaches to a
thick-milled front panel with special blue lights may well invoke the
opposite response from someone else. 

It is always interesting how many "enormous" differences under sighted
listening conditions shrink significantly in size when auditioned under
truly blind conditions. I just wish the subjectivists would stop the
silly pretension of insisting their imaginative perceptions are always
and only due to some obscure technicality that anyone with golden ears
could hear. If you don't hear what they hear, you become a clod with an
inferior system.

Now that Mr. Harley has admitted he has an imagination, it'd be nice if
he could take the next step and admit that perhaps some of what he hears
is due to that instead of claiming that he is hearing the difference
between a signal at -112 dB vs -110 dB or some picoseconds of jitter,
etc.


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