Hi all!

Whilst we're working on the detailed design (& possible remote
computerised control) of our ABX switch box, I thought I'd put down my
ideas so far on the practical aspects of the DBT.

These are the Rules Of Engagement:

1. Level matching to 0.1dB or better for each balanced input of the
switch box will be set using a dual mono 1kHz sinusoidal test tone by
means of trimmers *-inside-* the box which should not need to be opened
during the test in case the cat gets out. Panel members will be able to
verify that this has been done correctly by observing measurements taken
from the output of the switch box. There is obviously no separate input
for "X", but the fact that the switch box is functioning correctly (i.e.
adhering to the same level settings when switched to "X") may also be
checked, together with the "A" & "B" signal levels, at any time during
the test on request by a panel member in the same manner. This
level-matching will be checked again the same way mid-way through & at
the end in any event.

2. I shall preselect a selection of well-recorded & diverse programme
material from my eclectic selection of 6,500 albums (say 20 tracks)
designed to cover a wide range of genres, AAD/ADD/DDD material, and
lossless formats (16/44.1; 24/44.1 or 24/48; and 24/96 or 24/192).
Obviously any 24/192 will be transcoded to 24/96 by LMS before onward
transmission to my Transporter. Participants will also be encouraged to
bring a *-small-* number of tracks of their own lossless material, which
I shall be pleased to include at this preliminary stage for the
listening panel as a whole to consider whilst the final shorter list is
being determined (see Rule 3).

3. All of this programme material will be used for an initial
acclimatisation phase of the test. Any specific tracks which are not to
the musical taste of members of the listening panel can be identified &
eliminated at this stage, although the requirement for a variety of
genres, recording methods & formats will remain paramount. So anyone who
only likes Country & Western will be in for a rough time. I would hope
that we will be able to retain around 10 individual tracks for the
actual test as a result of the listening panel's expressed preferences.
My adjudicator's decision on the final selection will however be binding
if the panel are unable to agree on the selection themselves.

4. There is no rule 4.

5. The acclimatisation period will be of fixed duration, say 90 minutes.
If any panel members are unable to detect -*any*- differences between
the known sources "A" & "B" after this time, they will be given a
further 30 minutes of acclimatisation during which they can call the
programme material from our final selection of 10 tracks, either jointly
or severally (in the event that this pertains to more than 1 panel
member). If they are *-still-* unable to distinguish the known sources,
they will be assigned alternative roles (operator, scrutineer, or chief
tea-maker - there are separate rules for that btw :cool: , or even
gofer) because their further participation in the test would be
pointless - they could only make blind guesses. Panel members will be
encouraged to describe the subjective differences they think that can
detect between "A" & "B" in best "Stereophile" tradition as colourfully
as their erudition will permit (because we're all curious) & which
source they prefer from a musical standpoint. These comments will be
reported along with their subsequent relative success (or failure) rate
over the course of the objective test to identify "X" under double-blind
conditions, although I promise to do this anonymously.

More to come, & I may need to edit this because I'm formalising my ideas
as I type it. I don't want to bust the word count.

Dave (cheerful, but emoticons have packed up - strange)


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