The Denver RMAF 2013 hifi show is next week

RMAF

Is everybody ready?

For those are not going…. we completely understand. But here we are once again in October, so here we go once again to attend [not show, however, small rooms do not work for us.] at the Rocky Mountain Audio Fest 2013.

For those that are going: I think it is important, fun and ear-ducational for everybody to go to and try and hear each and every room.

No, I mean yes pundits say it is impossible but no, it is not. All good citizens of audiophiledom should hear as many different systems as possible. The weird. The awful. The spectacular. The clunky. The sweet. The raw. Low res, high res, turntables versus iPods, planars versus horns, everything.

In this way you take back the power from the pundits who may not have your best interests in mind.

It really is a great and fairly unique opportunity to try and understand what you like about each system and what you do not. By all means hang out for awhile in rooms that you like – and try to listen deeper to determine why it is one of your favorites.

But… still… try and not let that stop you from hearing everything else.

And be careful about spending too much time in rooms with components that you have ‘heard about’, struggling to hear why in the heck people actually like the darn thing. Sometimes, way too often, standout components, even if they really are standout, are found in a system that is not conducive to showing off that component in its best light [think unbroken-in gear and, more recently, laptop DACs or iPod sources]

There are 20 hours, and about 160 rooms, which leaves 7 and a half minutes for each room minus walking time. That is two full songs in many music genres.

And here are guidelines to help improve the amount of time for listening:

1. If the room exhibitor is talking with someone and appears to not be even close to executing that familiar slow Tai Chi-like ‘putting on music while talking to someone’ pose [and as opposed to Jet Li-style WHOOSH and ‘we are now playing the next track already thank you very much’]. Then move on, making a mental note to return to this room if possible.

2. If the room is too loud or too aggressive, save your ears. Move on making a mental note to return to this room if possible when it is quieter / sounds better.

3. If you go into a room and are attacked by rapid salespeople. This doesn’t happen all that much at hi-fi shows – but it does happen. Maybe 5% of the time? Run away as fast as you possibly can [which, you know, will not be all that fast because you are carrying a ton of LPs and a winter coat – its Denver] making a mental note to return to this room if possible when they are on their pee break [I did this a lot back-in-the-day. Now I just tell them to ‘talk to the hand’. Yeah. Right. Unfortunately I am not yet a terminator-grade show reporter. No, I let them talk to Neli, which they like way more than talking to a trouble maker like me, anyway ;-)].

4. If you go into a room and one of the famous reviewers are in there, you know, reviewing and all [and sometimes even the want-to-be famous reviewers]. The real famous reviewers are typically nice but scare the bejeezus out of most exhibitors, making for a tense listening session for you. Some of the want-to-be famous are jerks and will give you dirty looks if you breathe, also making for a tense listening session. Move on making a mental note to return to this room if possible when the there are just ordinary folks in the room [I know I am also a distraction when I am in a room taking photos with my camera with its seemingly 95dB click. But I do try to be as quick as possible and I have learned over the last 12 years or so to try and not stand in front a speaker why I am taking photos, at least, though no doubt I affect the soundstage presumably with negative effect].

[You would think watching a famous reviewer listening to a system would be educational, but they look just like some ordinary bloke who wandered off the street listening to some esoteric piece of music that they are apparently intimately familiar with but which nobody else has ever heard of before. You know. You see these people all the time. If not in the mirror, then look to your left or right. Just move on, nothing to see here.]

Reasons not to just move on. I know lots of people use the reasons below to skip a room, but I do not and wish everybody else [hint: Neli ;-). And JL. And … OK, the whole lot of ya :-)) would not either.

1. They are playing music you do not like. Hopefully the next song will be more to your liking.

2. The system is too inexpensive and will not ever be on your ‘to buy’ list. It is always instructive to see what less expensive systems can do well, and what they do not. Keep your ears in shape, make them work to identify the things that you are getting for those megabucks you spent on your more expensive gear.

3. The system is too expensive. Again, keep your ears in shape, listen and heart what can now be done with the most recent technology. Get inspired. These capabilities do trickle down to reasonably priced gear fairly rapidly [not just compared to tectonic plate movements either – if the technology CAN be trickled down at all, it is usually with a half-life of, say, 5 years (about 1/2 of the companies who are going to take advantage of the technology, are doing so after 5 years). By comparison, website technology trickles down with a half-life of about 8 months. And cars about 3 years? So at least some audio manufacturers are pretty good when it comes to adopting new technology].

4. Don’t like the exhibitor. Sometimes jerks setup a good system. Life is not always fair and often makes no sense at all.

5. Need to take a elevator / walk up stairs to get to the room (this barrier is near impassable for many reviewers and forum pundits)

6. There is nothing ‘new’ in the room – no new version of something, no new component of some sort. (I think Einstein was working on this law of the physical universe when he passed away – something to do with how ‘news’ is locally defined within a small group of people that mostly just talk to others in the small group. ;-)]

7. The seats are too comfortable [Ha! just seeing if you are paying attention]. Comfortable seating is like a super massive black hole that sucks you down and requires a supreme effort and massive amounts of energy to escape. B-E-W-A-R-E.

See y’all at Rocky Mountain Audio Fest everybody!

Remember… register for CES 2014 by Aug 31!

That is, if you want to pay nothing for your pass to attend. If you like paying an extra $100 to $200, well then, please don’t let us rain on your parade… 🙂

Registration is a little hard to find using Google right now… [anyone else notice how Google does not work as well as it used to?], so here is the link:

register for CES 2014

I think this will be our 13th CES in a row. It was last year that I forgot my badge… but neli says that they no longer mail badges? I haven’t read that anywhere myself.

*blauuugh* *blaughhh* *blauughhh* this has been a test of your emergency broadcast system. If this had been a real emergency then the date would be Aug. 31 and not Aug. 11th 😉

Responses to music: drug-like versus spacing out

While at RMAF 2012 I noticed I had 3 possible responses to the sound in a room:

1. Got to be some way out of here
2. Piles of troubles – Major Tom spacing-out until the song is over
3. Not so bad, interesting in its own way. Then more Major Tom spacing-out

In case #2, I was spacing out because I did not want to listen to the sound anymore.

In case #3 I was spacing out because I found the music nice and relaxing. Kind of a lot different than finding the music ‘engaging’ – but I found nothing engaging at RMAF but I will be, was, very happy with just ‘relaxing’ in those circumstances.

But one of the things I was spacing out about, if you can stand the recursion, is how ‘spacing out’ is related to responses to drug-like sound.

I think that pure drug-like sound pushes us around like a hurricane blows dead leaves around – that we have almost no conscious choice in the matter whether we are spacing out, sometimes to the point of hallucinating, or forced to focus on the subtleties of the music like our lives depended on it.

If this is so, then spacing out to a relaxing sound is just a response to a very, very mild drug-like sound, and that we are all kind of sailing the waters between this and an ultimate music experience every time we listen to music that sounds good enough to be in the range of ‘relaxing’ to ‘drug-like’.

This is great news for people who have built a decent sounding system – that decent and relaxing is on the path the drug-like.

But the sad thing is that 90% of the people we correspond with or visit – their systems are by composition and construction abrasive and obnoxious. They kind of know this about their system – but they think that all systems are like this, and that the rest of us are just making stuff up about drug-likeness and engagement and relaxation.

To the point that, from my observations of both audiophiles and reviewers, they refuse to believe what they hear when they walk into a room with non-abrasive sound. That they think something is ‘wrong’ when the sound is NOT atonal, sharp, uneven and emphasizing random frequencies and dynamics while completely obliterating others, collapsing all frequencies around various frequencies into one slap-in-the-face spike in hardness, etc. etc. etc.

To me, this is like wearing a watch that periodically pokes you with something sharp to the point of almost drawing blood from your wrist, or a bicycle that has a seat so ill designed that you can only ride it for 10 minutes without getting sore, or a car that has several things that start to rattle when you go over 30 mph.

People, you can do better than this. Music can, at a minimum, sound relaxing. Seriously. This is important. 🙂 [ I think this inability to grasp the relative quality of things is a real problem with people being able to fathom and enjoy our hobby… and our world]