To quote the famous quote of Abraham Lincoln: You may fool some people at some point, but you cannot fool everyone forever! This sentence seems to be very suitable for Hi-End audio.
In the existing knowledge map, today's audio science is significantly more advanced than the original era. At this end of the age, there are many smart practitioners who are far more outstanding than the founders. At the dark end, however, an era of ignorance and superstition and fraud took control. Why and how? Now we will focus on the lies that make people fall into traps.
1. Lies about wire
It is logical not to start with this lie, because the wire is an accessory, not the main audio component. But this is the biggest, meanest, most annoying, and most insulting lie, and it is the most lie in the fever field. So I must put this first.
The lie is that high-end speaker wires and signal wires have better sound than standard or ordinary wires. This lie has been pierced, laughed, and refuted by honest and authoritative people in the sun again and again. But many innocent people can't tell.
The simplest fact is that the three wire parameters of impedance (R), inductive reactance (L) and capacitive reactance (C) are the only parameters that can affect the performance in the acoustic frequency range. The signal doesn't even know whether he is being sent by sky-high wire or cheap wire. Of course, you also have to pay a price for a well-made plug, shielding treatment and insulation treatment, etc., to ensure that the wire can work reliably and stably. Also, you should pay attention to that the wire should not be too long to avoid excessive impedance and excessive signal attenuation. However, in the basic conductive properties, a pair of high-quality hangers after scraping the two ends straightened is no worse than the magic wire worth $ 2,000. The same is true for the 18-cent-one-foot electric light cable No. 16. Skyline wire is one of the biggest scams in consumer electronics. It's really frustrating to see almost all audio publications timidly surrender to wire manufacturers. (For a more in-depth test of the facts and false in the speaker and signal lines, please see points 16 and 17 (not in this article))
2. Lies about tubes
This lie is also a peripheral issue, because in this era of silicon and silicon, the electronic tube is no longer relevant to the mainstream. In the Hi-End audio market, this is a generally deep lie. It's unbelievable to count the proportion of pages of amplifier ads in high-end audio magazines, but that's how it is. Of course, the inside view is that in audio applications, the amplifier is more advanced than the stone machine. Don't believe it.
The tube is very suitable for radio transmission and microwave ovens. However, the turning point in this era is not the case for some products. For example: power amplifier, pre-level and CD player DVD player.
Is there anything wrong with the tube? No, really ... is there anything wrong with gold teeth? Even the front teeth? No, this is just another more attractive option.
In an audio device, what the tube can do, the transistor can also do it, and it can be done better, at a lower cost, and with higher reliability. Even the best amplifier amplifier in the world has higher distortion than transistor amplifiers of the same grade, and the amplifier requires more maintenance during the lifetime of the amplifier (replace the tube, adjust the bias voltage, etc.)
Those idiot designs of 8-watt single-ended triode tube amplifiers are not included, because they do not have similar transistor designs to compare.
Regarding gall taste, this deliberate staining, transistor system can also easily imitate this distorted sound, if the designer wants to do so. Of course, there are indeed some time-honored audio designers who would consider using tubes, but this few and successful exceptions are hard to end the lies of tube merchants who advise you to buy outdated technology.
3. Lies about anti-digital
You may often hear someone say: "Digital sound is much worse than analog sound." "Digitalized audio is like a poor picture of a newspaper made up of thick dots." "Nyquist's sampling theorem works perfectly No, the CD â€™s 44.1KHz sampling rate cannot solve the problem of extremely high frequency bands, because there are only two or three sampling points in a cycle there. "" Digital sound, even in the best conditions, will dry up. Thorns. "And so on.
This is ignorant and deliberately misleading. Lies are rarely supported in the mainstream because digital technology has gained full recognition. However, this lie is still circulated in the non-mainstream of some audio worlds, the unreborn Hi-End audio salon and various listening rooms.
The most ridiculous performance of the anti-digital fallacy is: I like LP more than CD, rather than analog master tape than digital master tape. The debate between the analog master tape and the digital master tape is still unknown as to who wins. Squeaks, crackles, and popping sounds outweigh the quiet digital information pit? This is a perverted resistance to objective facts.
Here are some facts that sophomores in electronic engineering can prove to you: digital audio is not poisonous, but analog audio can never be done, and 0 and 1 will never be changed in the signal path like analog audio. . Even at the lowest end of today â€™s audiophile sampling rate of 44.1KHz. It can also resolve all sound frequencies without causing any loss of information in the audio range. The question of how those two sampling points can restore 20KHz is the naive behavior of misinterpreting Nyquist's sampling law.
As for why some analog recordings sound better, the main reason lies in the credit of the sound engineer. Do a good job in microphone positioning, sound level, balance and equalization. Also, the location of the recording is very consistent with auditory acoustics.
Some early digital recordings were indeed hard and thorny. But this is not because it is digital audio, but engineers are still thinking about analog methods to correct pre-estimated losses that do not actually exist. The best digital recording today is the best recording mode ever. To be fair, we must admit that the highest-tech analog recording and the highest-tech digital sound engineer are comparable. Nevertheless, the number of supporters of analog recording in the professional field is rapidly decreasing.
4. Lies about listening tests
Ordinary readers of this journal know how to refute the old lie that disagrees with the ABX test. The general method is as follows:
The ABX method requires that the level matching of the A device and the B device is within plus or minus 0.1dB. You can listen to A and B at will, as long as you want. If you think they are different, you can ask to listen to X, and X It is actually one of A or B (this is randomly determined by the double-blind system), allowing you to compare A / X or B / X at any time. As many times as you like. Then decide whether X = A or X = B.
Because if it is based on blind guessing, the hit rate will be around 50%. At least 12 tests are required for the accuracy of statistics. (16 times is better, 20 times is better). There is no better scientific method to test whether you are listening to different things or the same thing. Those paranoid fans will tell you that the double-blind test will not work at all, because everyone knows that Krell is better than Pioneer.
But if they can't tell in the double blind test. Then the ABX method will be considered unworkable, and this is their theory.
If everyone knows that Joe is taller than Mike, but if they measure up to be 5 feet 11 and 1/4 inches tall, then there must be something wrong with the ruler, right?
The most common counter-argument is: the ABX test method is too stressful, if you say: let us see how good you can listen. They may say that there is no time, because there are 16 tests. In other words, too much equipment is required.
Teach you a method how to find a hypocrite who opposes and confuses the ABX test: if you ask them to believe other AB test methods, they may say believe. Then you ask him what method he uses to distinguish: 1. Use different levels? 2. Still peeking? Then you just wait for them to become angry and angry :).
5. Lies about negative feedback
"Use negative feedback in amplifiers or preamps? That's too bad!" "No negative feedback at all? That's great!" This kind of misleading is widely circulated. Negative feedback is actually a very useful tool in circuit design. It can reduce distortion and improve stability. Only in the copper age of transistor amplifier design, back in the 1960s and 1970s, the use of negative feedback was inappropriate, the results were very unsatisfactory, and many problems were encountered. This is the origin of superstition without negative feedback. In the early 1980s, Edward Cherry and Robert Cordell, under the shadow of doubt, made the truth fall. Negative feedback is completely beneficial and harmless as long as it strictly follows its basic guidelines. Today, those who now have no negative feedback are either lying or ignorant.
6. Lies about the machine
This is a lie that has been widely and repeatedly publicized, making you believe that various audio equipment and even wires, after a period of time, such as a day, a week, and a month, the sound will be better. This is pure bullshit. After power on, the capacitor will charge in a few seconds, and the bias will stabilize within a few minutes. In a properly designed amplifier or pre-stage or CD player, there is no difference between the performance of the first hour after it is turned on and the performance after 1000 hours of use. Not to mention the wire. What we are discussing with audiophiles now is metaphysics, not science.
However, it is true that devices such as speakers need a period of operation to achieve the best performance. This is because they have a moving structure and are mechanical devices that require external force to drive. This is the same as the car's engine and pistons. But this does not mean that a good speaker will sound very bad when it is unpacked. To make an analogy: A new car that only drove 10 kilometers, will it be difficult to drive? Will it be far worse than the old car?
7. Lies about double-line crossover
Many people have fallen into this trap even with the old burn. The speaker manufacturer is a participant in this trap. They will tell you that the effect of two-wire crossover is the same as the effect of two-amp crossover. There are even many highly respected people in the audio industry who have bowed their knees to this beneficial meal and surrendered to the reality of the market. They should feel guilty.
In fact: dual amplifier crossover is meaningful in some cases, even when using passive crossovers. But the two-line crossover is purely deceiving witchcraft. If you connect the end of a pair of speaker wires to the place where the other pair of speaker wires are connected, there is no change in the electrical principle at all. Physics is called the superposition theorem. The superposition theorem states that during the simultaneous application of many voltages throughout the network, the current flowing through a point in the linear network is equal to the sum of the individual current components generated by each voltage acting at that point alone. Similarly, under the same conditions, the voltage between any two points is equal to the sum of the voltages generated by each voltage acting alone between the two points.
Both the audio salesperson and the audiophile, as long as anyone can prove the opposite theory, they should all get scientific awards and college honors.
But we have to be fair to say that double-line crossover is actually not harmful, but it does not actually play any role. It â€™s like putting a magnet in a shoe.
8. Lies about power processors
What this title says is all in the Bryston product manual: All Bryston amplifiers include a carefully designed high-quality dedicated circuit in the power supply to prevent radio waves, line punctures and other power cord problems. Bryston's power amplifier does not require a special power processor, just plug it directly into the wall.
What they said is actually the characteristic of all well-designed amplifiers. They may not necessarily have the same PSRR and performance as Bryston. However, they can be directly plugged into the wall without any other special power treatment. If you can afford an expensive power processor, you can also afford an amplifier that is well designed and does not require special power handling. The power processor does nothing for you. (Please note that we are not talking about switching power supplies designed for computer surge protection. They can be much cheaper than TIce audio box, and they will receive more power interference than this audio device, such as printers and other peripheral devices)
The biggest and most stupid lie about "clean" power is that you need a specially designed high-priced power cord to get the best possible sound. The performance of all power cords rated for handling internal AC voltages and currents is the same as other power cords. Sky-rated power cords are a fraud. Your audio circuit does not know, and you do not need to care about what power cord is used on the AC side of the transformer. All they need to care about is the voltage required on the DC side. Think about it, does your car need to care about what tube to use to refuel it?
9. Lies about CD handling
We temporarily return our thoughts to the age of polyethylene. When we spray various magic liquids on LP discs, it will produce some effects of improving playback, especially when the air pressure sprayed out cleans up some grooves. Of the residue. Business logic continues to move forward. In the 1980s and 1990s, certain magical products for CD use were born.
The problem arises, yes, both CD and LP have the same surface to let you spray some mucus. But the surface of CD and LP are far away. Its tiny pits do not correspond to analog waveforms, just carry some digital codes composed of 0s and 1s. Those 0s and 1s cannot be made better or worse. LP may make the trajectory smoother. All they read is 0 and 1. Do you also polish a dollar coin to avoid cashiers as a dime coin?
10. Lies about golden ears
This all-encompassing lie may be ranked first, but it can also be used as a summary conclusion. The "Golden Ears" want you to believe how sharp and sharp their hearing is. They can hear any subtle sounds in the replay, which is different from ours. This is definitely not true. Anyone without actual hearing impairment can hear the sounds they can hear, but one thing is that those who have been trained and experienced know what those sounds are made of and know how to get there Explain and express. Therefore, if the frequency response of a speaker has a huge trough at 3kHz, then any ear, whether it is gold ears or wood ears, the sound will definitely not sound like the frequency response is straight. It's just that experienced people can quickly identify what is wrong. It seems that an auto mechanic can quickly know what is wrong with the car simply by listening to the engine. His ears are not necessarily better than yours. He just knew what to hear. In fact, you can do it if you have handled so many engines like him.
The worst part is coming, those radical subjective commentators who pretend to be "golden ears", salespeople at the Hi-end audio salon and key members of the audio club, etc., often use them when comparing two amplifiers The false master-like hearing came to intimidate you: "Have you heard?" You seem to have to hear that there is a huge difference between them, but in fact, Golden Ear can't hear any difference. They mean they heard, they know you trust their golden ears. It feels too bad.
The best rebuttal to Golden Ears is the double-blind test. This is the best way to distinguish whether he can really hear the difference. However, in reality, this is rarely the case. Even if there were, those golden ears would slip away after the first match.
In the audio industry, in addition to the above-mentioned ten lies, there are actually more. But let me talk about it next time. But the audio industry should not be blamed, but those crazy consumer culture and widely accepted metaphysics. The audio industry, especially the high-end audio sector, only responds to the mainstream climate.
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