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RE: Also, the longer the tonearm,...

The more I read about this issue, the more skeptical I become about audiophile listening abilities.

I read the 2/22/09 post on the 9" vs 12" AVID HiFi comparison graphs, regarding tracking error and tracking distortion, as well as the dozens of reviews, posts and blogs since then.

The initial error is in the use of average distortion figures and the difference in which audiophiles claim they can hear, when comparing 9" vs 12" tonearms, i.e. the difference between 0.85% and 0.67% averages respectively, or a difference of 0.18%, and interpreting that difference in audiophile terms, as being a "smoother" and "more transparent" sound. I would argue that this is sheer audiophile nonsense.

If someone is capable of detecting that 0.18% difference, then s/he ought to be able to detect the trajectory of tracking error/distortion, when a properly set-up cartridge tracks the lp between the two null points. If the 0.18% difference is detectable, then s/he ought to be able to hear the more pronounced rise and fall of error/distortion levels, as the stylus moves across the lp. Yet no reviewer, poster or blogger in my readings has ever claimed this achievement, much less proven this ability in a blind or double-blind test. I have not heard this variation, would strain to hear any such variation on any particular lp and would be loathe to subject myself to a double-blind test on this, since I believe I would fail miserably.

Additionally, why would any self-respecting audiophile want to have a smoother sound ? Live orchestral sounds are marked by micro-variations in texture, timbre and dynamics. A smoother sound to me implies a muddier sound, akin to Muzak®, supermarket and elevator car music. Are not audiophiles aware that there is inherent and naturally occurring distortion in the human voice, particularly in the male voice and obvious in the male chorus ? Any accurate reproduction of the male chorus must reproduce this natural distortion, and the self-respecting audiophile must discern the difference between natural and inherent distortion in any recording and the distortion being generated by the sound system.

Unfortunately I get none of this from the audiophile press or in any of the forums. Am I missing something ?

I become skeptical, when audiophiles begin to demand 14" and 16" tonearms, much as they demand 25kHz - 40kHz supertweeters, because they can sense these minute vibrations and variations with their wonderful bodies.


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