How To Get Young People To Become Audiophiles

There was a recent article on this topic at Home Theater Review.

I know, not exactly a haven for audiophiles but I think the article represents the views of a lot of people on the periphery of the industry.

First, there are some weird perspectives presented in the referenced article:

1. The article centers around the successful marketing of some reportedly lo-fiedlity headphones by a company with more marketing clout than all of the high-end audio universe put together (Monster Cable). This is not relevant to our industry. We are HIGH fidelity

2. Similarly, the article completely misses the point of vinyl [it sounds more like real music, and despite the lack of convenience, it is growing in popularity among the young – i.e. these are people who are willing to put in a little extra effort in order to have better sounding music… aka actual *audiophiles*].

3. “Historically, audiophiles have been quirky, non-showering, live-in-the-basement-of-your-Mom’s-house guys”? Funny, about 90% of our audiophile friends have a degree and own their own homes.

So the articles is really about how hifi is really a cult of losers and that our industry should give up fidelity and and put all our efforts into building and marketing cheap garbage to teenagers.

O…..kay. But I can think of several multinationals in the U.K. and Japan [not to mention China] already doing this. They know all about low-skilled cheap labor and modern social network marketing – not our business to do with the highly skilled engineering of the best audio reproduction equipment in the world.

So, let’s return to high-end audio.

In a large part, what all these articles are REALLY about is When, If Ever, and How Will HiFis Become a Big Fad Again (like it was in the 60s)? as people look over at how successful iPods and Facebook and Twitter and tablets…have been.

I think we can all agree that the younger generations really like music.

But, on the other hand, when has a generation NOT liked music?

And yet, all these generations come and go and, in the U.S. anyway, the number of audiophiles is more or less… what? Flat? Declining? Growing along with the 1% or so growth in population?

I would guess the latter, that we are slowly growing.

But…

The *behavior* of audiophiles is changing.

Anybody notice the sudden lack of stores selling CDs? Anybody notice the sudden lack of stores… of all kinds? [Boulder now has mostly Yoga studios, bicycle shops and a ton of restaurants whose half-life is about 6 months. And a LOT of empty retail space].

There are, of course, other changes… all of which make audiophiles a little bit harder to track [or at least different from just counting the number of retail stores or subscribers to Stereophile].

But,… if we really want our ranks to swell with the coming-of-age generation… well, if our ranks swell with people playing systems that do not sound like music.. then what is the point? This would not be high-end audio. Fi in HiFi stands for *fidelity*. So lets ignore lo-fidelity solutions [please].

Wireless is fine, as are tablet-based music servers, as long as people realize that you are actually sacrificing fidelity at various places in the chain. Why people think their $1000 wireless speakers or $100 USB DACs would ever sound as good as 5th generation $10K speakers or state-of-the-art $5K DACs is beyond understanding. But if we can stay in the Fact-based Universe for just a little bit, one can indeed build a Convenience-Oriented System, as opposed to a Performance-Oriented System, that sounds reasonably enjoyable.

So what.

The youth of today are addicted to always be seeing what their friends are doing. This has nothing to do with unsightly cables or the convenience of not having to get up off the couch and everything to do with social pressures associated with being young.

So adding some kind of social component to hifi systems might work. For example, what if each song you play is posted on your Facebook wall, along with a photo of the cool system you are hearing it on?

🙂

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]

McIntosh, Sonus Faber, Audio Research, Wadia, Sumiko…

Here are the facts about who owns who, as published in the TWICE magazine, the online version of which is here.

McIntosh is now owned by Fine Sounds. It was previously owned by D+M Group, which owns Denon, Marantz and Boston Acoustics.

Fine Sounds also owns Sonus Faber, Audio Research, WADIA, and Sumiko [OK. The description of what these companies do, as stated in the article, is kind of bizarre, but you get the idea].

Fine Sounds is owned by Quadrivio, an investment management firm based in Milan. Fine Sounds was formed 4 years ago with the purchase of Sonus Faber.

[And not in the article…]

Sumiko owns REL, bought Feb. 2006

KP Capital Partners bought Krell Nov. 2009 [although somewhat of a hostile takeover]

And Focal bought Naim Aug 2011

OK. Anybody I miss?