Awesome Audiophile Snake Oil

I'm less angry at the audio snake oil salesmen these days because they are clearly just trying to calm the nerves of a group that's terrified of imaginary distortion goblins. If they made their ersatz product any cheaper, this group probably would not believe the product actually kept these mighty imaginary goblins away. It is a service.

If you are buying an 'interconnect system' for your stereo, you are actually buying a treatment. And the supporting literature is the most important part.

they should just charge $20 for each word in the literature and not bother to actually sell you any electronic components.

That is a ridiculous company.

xp well they are basically doing that. but it is important to have an object to serve as a powerful symbol that no distortion goblins can harm the integrity of your signal.

you could even start a youth movement centered around upholding the integrity one's signal through devotion to the object.

you could commit seppuku at the foot of an altar devoted to the object.

it's sort of like some contemporary conceptual art, where you have a toothpick sitting on a pedestal in an empty room and a catalogue with 2,000 words of exegesis accompanying it.

Who's to blame - the snake oils sellers, or the dopes that write reviews like this?

the mere fact that there are so many different-sounding cables

these dudes will always ignore the faults inherent in the final stage of the receiver of these tests, i.e. their own stupid heads

Perhaps I’m old school for thinking that the job of an audio cable is to pass a signal from A to B without manipulating it or losing some part of it along the way.

I ask again: do audiophiles actually enjoy music?

yeah man, I own at least eight copies of Dark Side of the Moon

they probably listen to shit like jazz 78s like Buscemi's character in Ghost World and go "hmm yes the timbre of the original wax is coming through my $9,000 wires loud and clear"

naw I think the 78 people are a different stripe, but I defer to the old wax ilx contingent

ime those are not the same guys

maybe they are all enjoying something makes you think

jk audiophile types are obviously deluded bores

Audiophile dudes generally obsess over an odd lot of albums in my experience. Dark Side of the Moon (WALLY mastered versions only! Preferably UK!), Diana Krall, Mobile Fidelity shit, Miles Davis/other Van Gelder produced jazz albums... shit that's already well produced and would sound good on a 1985 Sears all-in-one, but they think it shows off their system.

these are the dudes buying UHQR pressings for $1000+

They own multiple Super Audio CDs, and can explain the difference between them and DVD audio

Only listening to music that shows off your audio system is like only eating food that shows off your forks.

or his pottery

I first listened to the Anchorwave speaker cables in my otherwise Shunyata-cabled system. The impressive low-frequency weight that I heard during break-in held true across all contexts. With the hybrid Lamm amps connected, the Wilson Sashas lapped up current like cream through those 9-gauge Litz bundles as their woofers purred with weight and tonal depth. Bass through the Lamm M1.2s was the best I’d heard from their pairing with the Sashas: deep, hefty, tonally informed and well controlled. I’ve always heard tonally rich, well-articulated lows from the Atma-Sphere MA-1 Mk 3.1, yet the Anchorwave speaker cables bumped that up a notch to help them deliver a touch bit more grunt and heft than I’d previously experienced from these OTL amps on the Wilson speakers. While the Atma-Sphere amps did not turn into solid-state behemoths, the improvement was welcome.

i had a joke there but i don't think it needs it.

5k words.

http://www.soundstage.com/revequip/atmasphere_mp1iii.htm

On the other end of the spectrum, the MP-1 Mk III is equally adept. Throughout the Mahler piece, heavy timpani strikes were very realistic. I heard the resonance of their skins within their kettles and the authority of the instrument within the hall. While my speakers’ cutoff point keeps me from fully appreciating Thus Spake Zarathustra’s sub-20Hz opening organ note [RCA/Classic LSC 1806], the MP-1 Mk III delivered timpani crescendos, cellos, and bass with unencumbered power. The very lowest bass could be a teeny bit wooly, but it was never without weight and timbral definition. Listen to the standup bass on NRBQ’s "Rocket in My Pocket" from All Hopped Up [Red Rooster LP1806]. I heard it as deep and tight, with the air and resonance of the bass’s body and nicely resolved decay. Here was that elusive bass with ambience.

$12k to listen to 2001 and NRBQ

I wonder if there's a crossroads for audio guys where you either become Douglas Self or one of these loons

I wonder if this crossroads has torn families apart

I first listened to the Anchorwave speaker cables in my otherwise Shunyata-cabled system. The impressive low-frequency weight that I heard during break-in held true across all contexts. With the hybrid Lamm amps connected, the Wilson Sashas lapped up current like cream through those 9-gauge Litz bundles as their woofers purred with weight and tonal depth. Bass through the Lamm M1.2s was the best I’d heard from their pairing with the Sashas: deep, hefty, tonally informed and well controlled. I’ve always heard tonally rich, well-articulated lows from the Atma-Sphere MA-1 Mk 3.1, yet the Anchorwave speaker cables bumped that up a notch to help them deliver a touch bit more grunt and heft than I’d previously experienced from these OTL amps on the Wilson speakers. While the Atma-Sphere amps did not turn into solid-state behemoths, the improvement was welcome.

Isn't this from George Lucas's first-draft Star Wars screenplay?

i think it's from archiveofourown

Someone plz find erotic audiophile fic and report back, see if it's distinguishable from the regular kind

Dragons Fucking Subwoofers

wounded matadors lapping up current

Goole - Atma-sphere is a local guy, a friend of mine used to work for him. He plays mellotron in a heavy psych band

They own multiple Super Audio CDs, and can explain the difference between them and DVD audio

I actually own a lot of Super Audio CDs, because I while ago I got myself a proper surround system, and there are loads of really good 5-channel SACDs of classical music available. Like, hearing René Jacob's recording of Bach's St Matthew Passion with the two choirs separated spatially is certainly a different experience than hearing it in stereo. And the SACDs themselves don't cost that much more than regular CDs... It's the SACD players that tend to be expensive, because SACDs are such a niche market that it's mostly the audiophile companies that produce compatible players. But thankfully Sony recently released a normal-prized BluRay player that can also play SACDs (though Sony doesn't mention that function on its site or even in the manual for the player, wtf?!), so you don't have to invest a shitload of money for a Marantz or anything.

That said, anyone who buys stereo SACDs must be fooling themselves, I can't imagine there's any such difference between those and regular CDs that human ears could perceive. It's just the same crap as with these high bitrate Pono WAVs.

He plays mellotron in a heavy psych band

― kurt kobaïan (upper mississippi sh@kedown), Wednesday, February 25, 2015 5:44 PM (Yesterday) Bookmark Flag Post Permalink

oh word

those atma-sphere amps look very cool, but lol @ guy wanting a 'distortionless' interconnect while using a tube amp

Yeah Thunderbolt Pagoda

This is old-school audiophilia, from an insert to an early Elecktra Records sampler from 1954, engineered by Jac Holzman:
http://s9.postimg.org/hek0yf9n3/2014_10_08_00_05_15_2.jpg

new display name

I wish that was a full-on debunking of this "hot stampers" charlatan:
http://www.wired.com/2015/03/hot-stampers/

haha, that article is a treat

I'd love to see someone do some real controlled blind listening tests with "hot stampers" - I bet it would yield the same results as that Freakonomics story on the study that showed wine buffs couldn't tell cheap wine from expensive wine: http://freakonomics.com/2010/12/16/freakonomics-radio-do-more-expensive-wines-taste-better/

the thing is, theres something to the "hot stamper" theory, I'd guess -- just not nearly as much as to justify paying a lot for a purportedly great pressing. most mastering people I know think there's a sweet spot in the pressing where stuff sounds best -- this is part of what makes auditing test pressings difficult, though I think most presses ditch the first few records off a fresh plate. but I've had test pressings that sounded pretty different from one to the next, and then a European pressing (from the same master) that sounded really unmissably better than its American counterpart, just a gorgeous clear amazing eye-opening sound that even my Rega P1 & radio shack speakers couldn't miss.

but any real difference can be measured by expensive instruments. lol at some dudes sitting in a room and listening to a hot stamper before providing their notes on the experience and slapping a $1000 price tag on it.

hot stampers has a snakeoilish scent for sure, but it's also my experience that most reissues (and really most new presses of any record) are terrible, both the cardboard covers but especially the sound - when I started collecting records I never thought I'd obsess over finding a good press, but now I've begun selling those reissues I naively wasted money on 7 years ago to buy proper 60s/70s/80s presses instead.

for what it's worh the only new 45rpm double LP's I have - the Mr. Fine Wine soul comps - sound AMAZING. Especially compared to most other comps of rare soul 45's.

agree that a lot of the last decade's 180 gram reissues were poorly done though, and I wasted $ on them too

It really sucks when you buy a brand new remaster on 180 gram and it has a skip in it. Has this happened to anyone else?

There's a preposterous amount of skill, art, quality raw materials, source media and well maintained equipment needed to make a record well. That's a big part of what makes it a compulsive medium of course but as the manufacturing biz has come back to life in a small way not all of that is always up to scratch for any given release. I mean yes there are reasons why more recent vinyl isn't always great. Actually "cold stampers" is supposedly an issue with typically small runs because the stamper needs to warm up for a good transfer to the vinyl. I gather that in the olden days an initial couple of hundred units of a major release would be discarded / reground but now a couple of hundred is often a whole run or a good part of it.