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Joined: Oct 2008
Posts: 734
Journeyman
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Journeyman
Joined: Oct 2008
Posts: 734 |
I remember shopping for components with my older brother back in the 70's. The listening rooms in the high end stereo shops were great. The vinyl sounded so good. It was always so spectacular. He ended up with some Kenwood equipment and we played all our favorite albums for years on that stuff. He still has it and it still sounds as good today as it did back then. Audiophile, not really. Not high end, but I think it was about $1000 back then for all he ended up getting, which was quite a lot in the 70's, but he had a good job and enjoyed getting the toys he wanted. I miss that sound.
My wife asked if I had seen the dog bowl. I told her I didn't even know he could.
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I’ve waited decades for some self-avowed audiophiles to subject themselves to a double blind study re equipment/recording medium variables.
Bud I know what you mean, but up until a couple of years ago, I would have accepted your challenge. I've worked with many audio engineers in my career and I have proven to them I can hear things their equipment says are different that they cannot hear. Now, sadly, I am about to get fitted for my first hearing aide in ten days 
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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I’ve waited decades for some self-avowed audiophiles to subject themselves to a double blind study re equipment/recording medium variables.
Bud I know what you mean, but up until a couple of years ago, I would have accepted your challenge. I've worked with many audio engineers in my career and I have proven to them I can hear things their equipment says are different that they cannot hear. Now, sadly, I am about to get fitted for my first hearing aide in ten days There's definitely a potential upside to that Matt. Maybe you'll recover some of what has more recently become a little degraded.
BIAB & RB2026 Win.(Audiophile), Windows 10 Pro & Windows 11, Cakewalk Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Session Keys Grand S & Electric R, Kontakt, Focusrite 18i20, KetronSD2, NS40M, Pioneer Active Monitors.
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Joined: Jan 2015
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I’ve waited decades for some self-avowed audiophiles to subject themselves to a double blind study re equipment/recording medium variables.
Bud I know what you mean, but up until a couple of years ago, I would have accepted your challenge. I've worked with many audio engineers in my career and I have proven to them I can hear things their equipment says are different that they cannot hear. Now, sadly, I am about to get fitted for my first hearing aide in ten days There are people who have listened to a great deal of top-flight content and equipment who can tell some surprisingly tiny differences with good repeatability. There are those who's answer to inconsistent test results is that there must be a flaw in the testing process that is affecting the outcome. There have been discoveries over the years that have have shed light on how sometimes people can hear differences that previously were considered nonsense or were not considered. The most obvious to me was TID (transient intermodulation distortion), where previously "low distortion" of typical sinusoidal measurement signals was extremely low, but the amplifier didn't sound right and people knew it. Ditto with electrolytic and ceramic capacitors when not used in the right ways. Part of the issue here is that it was never in Hi-Fi makers' interests to debunk some of the nonsense, because people will pay a lot of money for some intangibly 'better' component or system. An awful lot of the very top end of so many things is machismo and posturing. My house is better, my car is better, my watch is better, my 'phone is better.
Jazz relative beginner, starting at a much older age than was helpful.
AVL:MXE Linux; Windows 11
BIAB2026 Audiophile, a bunch of other software.
Kawai MP6, Ui24R, Focusrite Saffire Pro40 and Scarletts
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Joined: Dec 2011
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Joined: Dec 2011
Posts: 16,235 |
I’ve waited decades for some self-avowed audiophiles to subject themselves to a double blind study re equipment/recording medium variables.
Bud I know what you mean, but up until a couple of years ago, I would have accepted your challenge. I've worked with many audio engineers in my career and I have proven to them I can hear things their equipment says are different that they cannot hear. Now, sadly, I am about to get fitted for my first hearing aide in ten days I’ve worn aids for 12 years. I’m likely the oldest member of this old guy forum 😀 and I spent too many years engaging in hearing damaging activities before “wising” up. I hope you have the right audiologist for your needs. My Ph.D. audiologist is young and very bright. She is fascinated by my understanding of compression, eq, etc., and is sympathetic to my love of music production and nature. Thus she has, with my close input, created presets for different activities. She changed my life from hearing cymbals, shakers, etc., to listening to the sounds of nature while hiking and mountain biking. And I have what is medically considered a profound loss. She also constantly warns me to not expose myself to sounds exceeding 80db. I have a decibel meter on my Apple Watch that alerts me when that level is exceeded. Best to you! Bud PS And of course Janice’s remarkable hearing is a great asset!
Our albums and singles are on Spotify, Apple Music, Amazon Music, YouTube Music, Pandora and more. If interested search on Janice Merritt. Thanks! Our Videos
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Joined: Jul 2000
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Thanks, Bud. Yes, mine is well qualified, and like your experience he was surprised by my knowledge of sound.
BIAB 2026 Win Audiophile. Software: Fender Studio One 8, Swam horns, Acoustica-7, Notion 6, Song Master Pro, Win 11 Home. Hardware: Intel i9, 32 Gb; Fender Quantom HD8 & Faderport 8, Royer 121, Adam Sub8 & Neumann 120 monitors.
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I play music for the 45 to nearly dead age group. It's a good market in Florida, and I've targeted that crowd since the late 1980s. The only time I've been out of work was during the COVID lockdown.
I feel it's my responsibility not to damage their hearing, so when we do our sound check, we make sure the sound level at the nearest table is 85dba or less. If they ask us to turn up, we will, but then it's not us damaging their hearing.
I don't consider myself a real audiophile. While I love great sound, I am more moved by great expression. If it also sounds great, that's a definite plus.
Insights and incites by Notes ♫
Bob "Notes" Norton  Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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OP
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I play music for the 45 to nearly dead age group. It's a good market in Florida, and I've targeted that crowd since the late 1980s. "to nearly dead age group" gave me a chuckle. But then I realized that Florida is known as a retirement destination, so your business plan makes good sense. I guess everyone has to die somewhere. I wonder if coffin manufactures have figured that out Btw, how did Excel work out for your gig playlists, or did you go with another solution?
https://soundcloud.com/user-646279677BiaB 2026 Windows For me there’s no better place in the band than to have one leg in the harmony world and the other in the percussive. Thank you Paul Tutmarc and Leo Fender.
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Joined: Jul 2000
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Joined: Jul 2000
Posts: 6,509 |
Florida used to be “For the newlyweds and nearly deads.” before central AC came around and started the building boom. When DJs started taking the entertainment business in the youth bars, I made a choice to move to the retirement market. These people grew up when live bands were considered better than pre-recorded entertainment, and as you mentioned, it is a huge market. Wherever you are, if you want to make a living playing music, play what is in demand most, and try to do it better than your competition. I actually enjoy it more than the old singles bars (although when I was single, the youth market offered some stimulating after hours opportunities). The audience is more respectful, there are no barroom brawls, the gigs are shorter (3-4 hrs.), and usually earlier in the evening. Although I have to schlep gear every day, 2-3 gigs per week pay as much as the old 6 days in bars. I never used Excel for gig playlists. It's not a bad idea though. We have over 650 songs in our book, and I don't do set lists. I evaluate the audience, and how they are reacting to the song I'm playing, and then call the next song while we are playing the current one. I have an old-fashioned, 3 ring loose-leaf binder with our songs listed in categories to help me out. Just the title, and temps under headings like slow, swing standards, hard rock, moderate rock, Caribbean, country, etc. If I went Excel, I could add columns like date and artist so if someone comes up and asks for anything by The Temptaions, or from The 1990s, it would take less brain power. But with over 650 songs, and 15-20 gigs per month, that would have to wait until we aren't as busy. Notes
Bob "Notes" Norton Norton Music
https://www.nortonmusic.com
100% MIDI Super-Styles recorded by live, pro, studio musicians for a live groove
& Fake Disks for MIDI and/or RealTracks
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Joined: Jan 2010
Posts: 892
Expert
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Expert
Joined: Jan 2010
Posts: 892 |
I’ve waited decades for some self-avowed audiophiles to subject themselves to a double blind study re equipment/recording medium variables.
Bud I know what you mean, but up until a couple of years ago, I would have accepted your challenge. I've worked with many audio engineers in my career and I have proven to them I can hear things their equipment says are different that they cannot hear. Now, sadly, I am about to get fitted for my first hearing aide in ten days It actually happened some decades ago. Can't remember all the specifics but some saintly midwest audiophile group was subjected to such a test. I think it was Hi-Fi or Stereo Review magazine. They hauled out all the mark levinson preamps and other what not to test the ears of such avowed golden ears A $135 Onkyo Receiver won the challenge. Don't know the model number. I loosened up after that. Then I sold my Nakamichi Dragon for more than I paid for it. Now I mostly listen to mp3's through various sub $1000 systems. I no longer lug 60lb tube guitar amplifiers to gigs.
biab2026(Mac) Latest Build
Mac OS (Latest)
Apple Mac Mini M2 pro 32GB Ram
Logic Pro (latest or pretty close)
Blue and White Sea Star
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Last Chance! The Band-in-a-Box® 2026 for Mac® Special Ends Today (May 31, 2026) at 11:59pm PDT!
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202 New RealTracks Released with Band-in-a-Box 2026!
With Band-in-a-Box® 2026, we've released 202 incredible new RealTracks (in sets 468-488) in a variety of genres—featuring your most requested styles!
Jazz, Funk & World (Sets 468-475):
Our new jazz, funk & blues RealTracks include a groovin’ collection of RealTracks and RealDrums! These include more requested “soul jazz” RealTracks featuring artists Neil Swainson (bass), Charles Treadway (organ), Brent Mason (guitar), and Wes Little (drums). There are new “smooth jazz” styles (4), which include a RealTracks first: muted trumpet, as well as slick new smooth jazz brushes options for drums. Blues lovers will be thrilled—there are more “classic acoustic blues” styles, including guitar (5), bass (4), and drums (10) with blues master Colin Linden, featuring understated and tasty background acoustic soloing, plus brushes drums and acoustic bass. There are also new electric blues RealTracks, including electric blues with PG favorite Johnny Hiland (3) and soulful electric slide guitar from Colin Linden (4). If you love funk & gospel, there are great new options this year, including gospel organ (3) from Charles Treadway, as well as new funk, tango, and rock ’n’ roll drums (3) and bass (1). And for big, bold arrangements, we have uptempo soul horns (4) featuring a three-part hip horn section with options for a full mix or stems of each individual horn — plus an accompanying rhythm section (4) of drums, bass, guitar, and electric piano!
Rock & Pop (Sets 476–482):
Our new rock & pop RealTracks bring a powerful mix of requested favorites, fresh genres, and modern chart-inspired styles! We have more of our popular “Producer Layered Acoustic Guitars (15)” featuring Band-in-a-Box favorite Brent Mason. We’ve continued our much-requested disco styles (10), and added new Celtic guitar (5) with a more basic, accessible approach than our previous Drop-D or DADGAD offerings. There are also highly requested yacht rock styles (17), inspired by the smooth, polished soft-rock sound of the late ’70s and early ’80s — laid-back grooves, silky electric pianos, warm textures, elegant harmonic movement, and pristine production aesthetics. Fans of heavier styles will love our new glam metal (13), capturing the flashy, high-energy sound of ’80s arena-ready guitar rock. We also have a set of rootsy modern-folk rock (18), with a warm, organic sound combining contemporary folk textures and driving acoustic strumming. And we’ve added lots of new modern pop styles (16) — the kinds of sounds you’re hearing on the radio today, featuring exciting new drums, synths, and cutting-edge RealTracks arrangements.
Country, & Americana (Sets 483–488):
Our new country & Americana RealTracks deliver a rich collection of acoustic, electric, and roots-inspired styles! We have new country pop (9) with legendary guitarist Brent Mason. There is also a potpourri (14) of bouzouki, guitars, banjo, and more, perfect for adding texture and character to contemporary acoustic arrangements. We’ve added funky country guitar (5) with PG favorite Brent Mason, along with classic pedal steel styles (5) featuring steel great Doug Jernigan. There are more country songwriter styles (8) that provide intimate, rootsy foundations for storytelling and modern Americana writing. Finally, we have “background soloing” acoustic guitar (12) with Brent Mason — simpler, but still very tasty acoustic lines designed to sit beautifully behind vocals or act as a subtle standalone solo part.
Check out all the 202 new RealTracks (in sets 468-488)!
And, if you are looking for more, the 2026 49-PAK (for $49) includes an impressive collection of 20 bonus RealTracks, featuring exciting and inspiring additions to add to your RealTracks library. You'll get new country-rhythm guitar styles from PG Music favorites Johnny Hiland and Brent Mason, along with modern-pop grooves that capture today’s radio-ready sound! There are also new indie-folk styles with guitar, bass, 6-string bass used as a high-chording instrument, acoustic guitar, and banjo. Plus, dedicated "cymbal fills" RealDrums provide an added layer that work very well with low-key folky styles with other percussion.
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- MIDI Styles Set 92: Look Ma! More MIDI 15: Latin Jazz
- MIDI SuperTracks Set 46: Piano & Organ
- Instrumental Studies Set 24: Groovin' Blues Soloing
- Artist Performance Set 19: Songs with Vocals 9
- Playable RealTracks Set 5
- RealDrums Stems Set 9: Cool Brushes
- SynthMaster Sounds Set 1 (with audio demos)
- iOS Android Band-in-a-Box® App
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- MIDI Styles Set 93: Look Ma! More MIDI 16: SynthMaster
- MIDI SuperTracks Set 47: More SynthMaster
- Instrumental Studies 25 - Soul Jazz Guitar Soloing
- Artist Performance Set 20: Songs with Vocals 10
- RealDrums Stems Set 10: Groovin' Sticks
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Learn more about the Bonus PAK and 49-PAK for Band-in-a-Box® 2026 for Mac®!
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