This content argues that new audiophiles often get bogged down by perceived "rules" and anxieties perpetuated by established enthusiasts, distracting them from the primary goal: enjoying music. It aims to debunk common misconceptions and gatekeeping in the audio hobby, encouraging listeners to trust their own ears and preferences.
Mind Map
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คลิกเพื่อสำรวจ Mind Map แบบอินเตอร์แอคทีฟฉบับเต็ม
These are seven stupid things that new
audio files worry about and they
shouldn't. Aspiring audio files sign up
for our little club for better sound.
Not anxiety, not for rules, not a
checklist from a guy that hasn't enjoyed
music since 1997 and definitely doesn't
listen to the music that you enjoy. I
believe somewhere along the way people
stopped listening to music and started
listening to their equipment. And this
video is about breaking down the
gatekeeping. Pushing back on those
things that people repeat so many times
that most people just think, "Ah, this
must be the way it is." Well, it's not.
SO, SIT DOWN, GRAB A CUP OF COFFEE, and
let's talk about seven stupid things
that new audio files worry about and shouldn't.
The antagonist of our story, the
villain, is not bad gear. It's the
established audio file. Not all of them,
just the grumpy ones. You may have meant
them if you've heard this. I've been an
audio file for 40 years. That's not real
hi-fi. Buy real gear used. They don't
offer any solutions. They don't give you
any context. Just a whole bunch of
judgment. And now our new audio file
starts to doubt their own ears. And
instead of chasing good sound, they are
So, these are the seven traps that a lot
of new audio files fall into, and
they're not necessarily evil. I think
they're just overstated. They're just
not nearly as important as people make
them out to be. The first one is about
the music resolution. Basically,
high-res music. A high-res picture of
the inside of a dumpster is still just a
very good picture of garbage. Same thing
with music. We have bit depth, sample
rate. A compact disc comes in at 1644.1
and that is kind of the gold standard as
far as lossless music. Spotify came out
with I think it's 320 kilobits per
second, basically MP3. Now, one would
think that a CD at 1644.1 would be
better than Spotify at 320 kilobits per
second. And they're kind of right, but
what's really important is how that
track was mastered to begin with. My
point is that you can have high-res
music, but you don't necessarily need
it. Most of the audio files, myself
included, kind of feel that CDs sound
better than high-res streaming music
through a streamer. Now, that could be
just romanticizing physical media, but
there's way more to the story than just
resolution. An MP3 that is recorded
well, mastered well, is going to sound
better than high-res track that's not
recorded well, or mastered well. Doesn't
matter how good your digital to analog
converter is, a bad recording is a bad recording.
Oo, the amplifier obsession. And what
I'm talking about here is really class
A, class A B tubes, class D, class H,
class Z. I just made those last ones up.
Anyway, a lot of people say, "Well, all
class D amplifiers suck." They're not
necessarily wrong. Well, they're kind of
wrong now. They weren't really wrong 5
years ago. Early class D amplifiers, for
the most part, sounded harsh, and that's
actually a reality. However, new stuff,
especially the Texas Instruments 3255
amp chips set based amplifier, sound
pretty good, especially if they have a
powerful enough power supply. Tube amps
also aren't automatically warm.
Sometimes tube amps can sound really
pushed forward in the upper mid-range,
which I don't particularly like, and
they don't always control the bass very
well. Class A isn't a guarantee of
smooth sound either. But class D can
sound good. Class A can sound good.
Tubes can sound good. Class AB can sound
good. So, there's not one best fit for
everyone. The problem is the design of
the amplifier plays way more of a role
than just the topology of the amplifier.
So once again, we have to do a little
bit of homework. The trap that a lot of
new audio files fall within is that if I
just buy a class A amplifier, if I just
buy a tube amp, if I just ignore class
D, well then my life is going to be
better. Unfortunately, it's nuanced and
it's complicated. Here's
Here's
one that kind of hits home for me. It's
about room treatment and how a lot of
new audio files feel like they need to
have a whole bunch of room treatment.
That's not necessarily wrong. But did
you know that uh Floyd Tulle, I think,
is the guy that wrote a book about room acoustics.
