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Joined: Oct 2008
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Journeyman
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Journeyman
Joined: Oct 2008
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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 2024 Win Audiophile. Software: Studio One 6.5 Pro, Swam horns, Acoustica-7, Notion 6; Win 11 Home. Hardware: Intel i9, 32 Gb; Roland Integra-7, Presonus Studio 192, Presonus 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 & RB2024 Win.(Audiophile), Sonar Platinum, Cakewalk by Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Kontakt, Focusrite 18i20, KetronSD2, NS40M Monitors, Pioneer Active Monitors, AKG K271 Studio H'phones
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Expert
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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.
Kawai MP6, Korg M50, Ui24R, Saffire Pro 40.
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Joined: Dec 2011
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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 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!
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Thanks, Bud. Yes, mine is well qualified, and like your experience he was surprised by my knowledge of sound.
BIAB 2024 Win Audiophile. Software: Studio One 6.5 Pro, Swam horns, Acoustica-7, Notion 6; Win 11 Home. Hardware: Intel i9, 32 Gb; Roland Integra-7, Presonus Studio 192, Presonus 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
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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 2024 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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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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Journeyman
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Journeyman
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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 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.
biab2024(Mac) Latest Build
Mac OS Sonoma 14.5
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Logic Pro 11
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