Same to you!
I get that, and it can be sort of bettered by gear synergy but your speakers and speaker position will have more to do with that than the amp or the player. A lot of people love the more top of the line Focal speakers with beryllium tweeters, to me they start having the same effect as nails on a chalkboard after 30 seconds. But one has to experiment to vene know what we like and don’t like and even then tastes might change with time. Have fun, that’s the main thing!
And happy new year everybody!
They have plenty of value to me… you know, the person who is listening to the music. Forums exist to exchange knowledge and personal experience, both of which are gifts.
So… here you go… some real knowledge and experience for you and others to apply…
There needs to be a common reference for subjective comparisons of sound-quality… Without this common reference, one’s personal interpretation is just that… “personal” otherwise termed as being subjective.
From the Wikipedia article “Psychoacoustics” linked below:
Hearing is not a purely mechanical phenomenon of wave propagation, but is also a sensory and perceptual event. When a person hears something, that something arrives at the ear as a mechanical sound wave traveling through the air, but within the ear it is transformed into neural action potentials. These nerve pulses then travel to the brain where they are perceived. Hence, in many problems in acoustics, such as for audio processing, it is advantageous to take into account not just the mechanics of the environment, but also the fact that both the ear and the brain are involved in a person’s listening experience.[citation needed]
The inner ear, for example, does significant signal processing in converting sound waveforms into neural stimuli, this processing renders certain differences between waveforms imperceptible.[2] Data compression techniques, such as MP3, make use of this fact.[3] In addition, the ear has a nonlinear response to sounds of different intensity levels; this nonlinear response is called loudness. Telephone networks and audio noise reduction systems make use of this fact by nonlinearly compressing data samples before transmission and then expanding them for playback.[4] Another effect of the ear’s nonlinear response is that sounds that are close in frequency produce phantom beat notes, or intermodulation distortion products.[5]
Psychoacoustics - Wikipedia
“Assessment of Audio Sound Quality Based on Psychoacoustics”
Yu Ting Tsai and Jin H. Huang
Electroacoustic Graduate program, Feng Chia University, Taichung 40724, Taiwan (ROC)
https://www.acoustics.asn.au/conference_proceedings/ICA2010/cdrom-ICA2010/papers/p945.pdf" Sound quality is an important issue in sound products today, covering a range of fields form music performance to mechanical noise, and is related to human aural response. Many measurement assessment items for sound quality have been defined including frequency and loudness. Music also includes all subjective characteristics of sound. Sound allows people to appreciate their surroundings through auditory organ, and listeners naturally anticipate enjoyment of music. In brief, “timbre” is determined by “hearing sensation” and “satisfaction” is determined by both “sound imaging” and artistic contents. When music is played, listeners pay attention to “hearing sensation” first and “satisfaction” second. But “timbre of feeling” is difficult to express objectively as listeners’ subjective feelings cannot be accurately measured by acoustic measurement equipment. To combine objective analysis and psychoacoustics to reinterpret the ratio of “timbre of feeling” in sound quality, this paper presents an assessment model for the sound quality of audio performance based on psychoacoustic theory. The model incorporates auditory roughness and specific loudness that are deemed the causes of the quality of audio performance. From the model, the optimum curve for auditory roughness is presented. Furthermore, the hearing balance of high audio fidelity and hearing satisfaction rank are proposed. Experimental results show that the model can be applied not only to measure the sound quality of audio signal but also to assess sound quality qualitative comparisons of high fidelity loudspeakers. The results also demonstrate that the proposed assessment model is capable of expressing subjective sound quality successfully.
“General methods for the subjective assessment of sound quality”
Recommendation ITU-R BS.1284-2
(01/2019)
“Subjective assessment of audio quality”
– the means and methods within the EBUW. Hoeg (Deutsch Telekom Berkom)
L. Christensen (Danmarks Radio)
R. Walker (BBC)The existing EBU Recommendation, R22 [1],
states that “the amount of sound programme ma-
terial which is exchanged between EBU Members,
and between EBU Members and other production
organizations, continues to increase” and that
“the only sufficient method of assessing the bal-
ance of features which contribute to the quality of
the sound in a programme is by listening to it.”
https://tech.ebu.ch/docs/techreview/trev_274-hoeg.pdf
I can get deeper if you care to dive into this…
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Also, you parsed and reframed the context of my response, regarding the ‘value’ of your subjective statements in the context of the original premise of the OP’s topic, in-order to create a straw-man argument that is completely irrelevant to the premise of the OP’s topic, concerns, etc…
Below, is my complete response to your subjective assertions, that had nothing to do with the topic under discussion: