Drug-like Experiences at Shows

We’ll get back to the Drug-like component discussion shortly, but I was writing about our Audio Note room this upcoming CES and got to thinking about whether I could expect people [aka you all] to experience drug-like experiences in the AN room, in which room I expect there to be a very drug-like sound.

i.e.

“Does the ambient stress and presence of strangers and their talking Decrease, or perhaps even Increase, the chances of a Drug-like experience in a room with Drug-like Sound?”

In my observations at shows, the experience can definitely be affected SIGNIFICANTLY by the show itself (this is all just from my point of view. Other people may have other triggers):

Negative Show Vibes:

* Somebody yacking loudly about pricing or other business matters [this tends to activate my practical brain which just loves kill any kind of enjoyable experience for me :-)]

* Somebody commenting about how they “don’t get it” or other downer comments about the sound [this activates my “what is the world coming to” brain. OMG this part of my brain is working overtime these days]

* The exhibitor in the room talking to me about the technical aspects of this and/or that. [this activates my “WTF you talking about?” part of the brain. However… based on numerous comments on Forums about shows, this seems to enable many people to be convinced that what they would hear if the exhibitor was not actually, in fact, talking to them at the time would be great]

Positive Show Vibes:

* Friends and/or acquaintances in the room [perhaps grooving to the tunes, which, in our culture here in the U.S., means they are not getting up and leaving. Since just about every room has a friend or acquaintance for me these days, this is a big advantage. These people make me able to relax a bit and not worry so much about nutcases coming up to me demanding an explanation for why I gave their system last year with the speakers on the floor and their components piled on top of the speaker a less than positive review]

* A well setup system [I like to see that the components were chosen and setup with some attention paid to how it is going to sound. This communicates to me that they care about my musical experience in their room. There is a whole continuum of how well these rooms are setup. (Maybe I should rate rooms ONLY based on this aspect of their system? Acoustic Zen would rate very well. Merlin would do pretty well – unless we rate them for whether they dust their components from year to year :-)). Many high-end systems pay little attention to vibration control or use racks that are much worse than putting things on the floor. In general many choose components from vendors that are inferior to what they are primarily trying to exhibit. This tells me that they are not focused upon providing me a drug-like experience. ]

* Somewhat less detail than I normally insist upon [my ears are raw from listening to many not-very-good systems and the ability to relax to a more laid back sound helps me be receptive to any drug-like sound the system may have.]

No Vibes:

* Room appearance [I have no memory of any room whose appearance affected how receptive I was to a drug-like sound … except… mattresses leaning up against the wall is kind of icky… and the NFS (Not For Sale) room with their light show and 24 hour party and heavy drinking and warm welcome and all makes me have a drug-like experience even when, no PRIMARILY when, they are not playing any music. ;-)]

I’ll try to think of other things that affect whether or not people may have a drug-like experience at a show. It is hard, for me, to have one in my own exhibit room, even after hours surrounded by new and old friends, because I am so worried and stressed at some level about how it sounds and am I forgetting something and what if we did this or that etc.

Mental and Physical Predispositions to Experiencing Druglike Sound

1) We all know that one’s emotional state can affect how one feels about the sound of their system. This state can increase or decrease the likelihood of having a druglike sound experience.

2) We also know, or have read about, how alcohol and various drugs can affect how one feels about the sound of their system and can similarly increase or decrease the likelihood of having a druglike sound experience.

3) There are other things, both internal and external, that can also affect (increase) the probability of a druglike experience.

Artificially inducing strong emotions (1), like anger [got fired, for example] or exuberance [got hired], just to have a druglike sound experience seems a little on the ‘needs therapy’ side of the fence. (2) can be hard on the body and or brain cells. (3) however, if we can enumerate several relatively sane and healthy techniques, would seem to be the approach of choice.

Things that [may] affect the probability of a druglike experience:

A) Mood lighting. Bright light seems to be of no help at all, but dim light, the glow of vacuum tubes, city lights or Christmas tree lights all seem to increase the chance of a druglike sound experience

B) Comfortable seating, in my experience, does NOT affect the probability of a Druggish experience

C) Going from a good to a great quality sound / recording does increase the probability of this experience. Perhaps one can artificially arrange to closely listen to, first, a medium quality recording then a high quality one, esp. of the same music, JUST to create one of these experiences?

D) Casual chitchat during the music almost always reduces the probability to zero.

E) Being tired, but not so relaxed that you are falling asleep, in my experience, increases the probability.

F) Good company, whether friends or strangers, increases the probability. Hostile people, or just people in a bad mood, people reduces the probability to near zero.

Other things to think about: aroma, clothing, ambient temperature, time of day. Others?

Harmonic Color, Harmonic Purity, Harmonic Vividness and Visual Color

I guess we should try and define some of these terms and then [I should] try even harder to stick to using them correctly.

*Harmonic Purity is analogous, in my mind to a tuning fork. A ‘ringing’ purity with all subharmonics intact and appropriately long decays. The opposite to harmonic purity is ‘blanched’ [i.e. washed out. Anyone else use a different term?]

*Color is how much subharmonics are present at all frequencies and SPLs and dynamics, especially in the smaller, more subtle notes. The opposite to having lots of color is Leanness.

*Harmonic Vividness is the cross product (multiplication) of Harmonic Purity and Color – when they are both present the music harmonics are very brightly colored – very real [or better than real since many live performances have lots of soft people around you absorbing various harmonics]. Harmonic Vividness is the real goal here with respect to harmonics.

*Harmonic Resolution is how many different harmonic tones are audible within a single major note. The lack of harmonic resolution [no term for this yet] is for example a middle ‘C’ note where all you can hear is the one frequency, growing loud then soft. With lots of harmonic resolution that same note has audible delineatable harmonics in the related octaves, as well as some harmonics at freq a little above and below [if this is a real world instrument] and all of which decay at different rates – and sometimes reinforcing and/or diminishing each other- lending a fullness and richness and character to the note.

From a recent deranged comment (of mine :-)):

“McIntosh can be said to have color, but it is low on harmonic purity and ‘vividness’. I do not see this as a particularity good thing. There is this Visual Color I see when I hear equipment. Valhalla is bluish silver. Jorma Prime is orangish brown [more like a burnished orange, actually]. McIntosh… is uneven, kind of like a faded-in-some-areas worn plaid pastel shirt. The Ongaku is…”

[as I continue to think about the mental colors I associate with things that I like the sound of…]

… like sunlight on a bar of gold [a lot of bright colors on a background that is slightly gold]. The AN DAC 5 Signature was as close to a pure rainbow (or prism, think Dark Side of the Moon album cover) as I have heard.

Sometimes colors are hard to pin down (for me, anyway). The Nordost Odin power cord is white. The Odin interconnect is slightly grayer than the Odin PC. The AN PALLAS is a smallish rainbow [actually, 100s of smallish prisms. and the Lamm ML3 is millions of smallish prisms]. The Lamm ML2.1 is purplish grayish white.

I do not see a mental color when I think of speakers, or rather I see the actual color of the speaker itself in my mind, which is *so* boring 🙂

Anyone else have colors they associate with equipment?