A Brief History of CD DBTs
On Friday, December 21, 2012 9:08:36 AM UTC-8, ScottW wrote:
On Dec 21, 6:51=A0am, Audio_Empire wrote:
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On Thursday, December 20, 2012 6:46:30 PM UTC-8, wro=
te:
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On Thursday, December 20, 2012 6:37:24 PM UTC-5, Audio_Empire wrote:
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I still believe that the only way to do a DBT/ABX of something as
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subtly different as amplifiers should be done with each amp being
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auditioned for as much as a half hour before switching to the other
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amp. Use the same cuts from test CDs for each session, played in
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the same order. Of course careful level matching and strict double
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blindness must still be maintained. I suspect that such a test migh=
t
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uncover differences that short term, instantaneous switching doesn'=
t
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reveal.
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As long as I've been reading RAHE (which is going on 15 years, I thin=
k), I've seen this belief expressed. =A0One of these believers ought to try=
it sometime. Perhaps they will teach the world of psychoacoustics somethin=
g. (I am not holding my breath.)
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bob
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I have tried it. And if there are any differences, one has a much bette=
r
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chance of uncovering them if one really listens to the devices being
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auditioned. You can't do that when two devices are being swapped
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out for each other every few seconds (or even every couple of minutes).
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As long as the auditions are truly double-blind, and the levels are car=
efully
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matched to less than a dB, and the same varied demonstration material i=
s
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used in each instance, they are still true DBTs.
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I agree. Selection of the source... A, B, or X should be under
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subject control and for as long as the subject desires with whatever
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material the subject desires before making a choice. My own choice
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of material would not be limited to music. It masks rather than
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illuminates differences.
I hadn't considered that. Yeah, I think a selection of drums or gun shots,=
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and other kinds of day-to-day sounds would be useful as part of the
mix of test material.
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