如何评价音响的表现？
gordon holt最先引入音场、亮、暗等词汇来描述hifi表现，我认为较为准确的主观评价不仅仅是准确的使用词汇，更为重要的是要做到：1、 全面的描述音质的各个方面 2、可重复的执行。 发烧杂志最喜欢的就是在评价不同音响时描述最有优势的一部分，甚至是只描述一张唱片里表现最好的一个部分，发烧友喜欢的是根据不同音响某一个方面的优劣就给出一个排名和论断。这种方式无助于寻找最为全面的音响表现，也无助于自己在不同音质方面取舍，因此我将致力于全面，可重复地描述作者: chrisalex 时间: 2019-9-14 09:30
J. GORDON HOLT和HARRY PEARSON兩人，都在美國乃至世界音響評論歷史上留下了印記，很多目前我們所看到的音響評論方法，以及評論員的用詞與描繪方式，都來自他們兩人的開創先河，所以後輩的音響評論員都對他們兩人表示感激，順便説一下，J. GORDON HOLT和HARRY PEARSON，分別是美國《Stereophile》和《The Absolute Sound》雜志的創始人
顺便：非常多的人对微动态毫无感觉，尤其在那些不听原声音乐，的人更是如此。引用一段salvatore的话。
The Practical Implications of Differing Hearing Capabilities
In my capacity as an audio salesman for two decades, plus in my private life, I have conducted, and been a witness to, tens of thousands of direct comparisons and auditions (mostly for the benefit of other people). It took me many years to figure out why some of the listeners were not able to hear what I (and many other audiophiles) could clearly hear (and highly value). To be specific, the advantages of good tube amplification and analog sources were not heard, or appreciated, by other enthusiasts. Eventually, I realized there was a connection between a preference for tubes and analog and the ability to hear (or, at the very least, to appreciate) soft sounds.
This consistent phenomenon was noticed not only in my store, home and audio shows, but also in audio reviews*, first in print and now on the web. Audio reviewers* who made a big deal about "ambience, natural harmonics, decays, flow, sense-of-space, micro-dynamics" etc (such as myself), generally preferred analog and tubes. Those reviewers who rarely mentioned such words, generally preferred transistor electronics and digital sources, which was logical since tubes and analog offered no sonic advantages that they could perceive.
Bottom Line- All listeners have a personal "sound-floor", just like audio components and systems. Accordingly, serious audiophiles should find out, as precisely as possible, exactly what is their own "personal sound-floor". Audiophiles should also always make the effort to discover if other audiophiles, especially their friends and the reviewers* they respect (if any), can hear (and appreciate) the same soft sounds that they can hear themselves. This can be done over time, with multiple auditions of different equipment and music. Actual hearing measurements can be done as well, but this will usually provide no practical assistance, other than the relief of finding out that there is no biological problem to be concerned about.
*Specific Example- I was highly critical of the original (all-acrylic lightweight platter) version of the VPI HR-X turntable. In stark contrast, Anthony Cordesman (TAS Issue #151), Brian Damkroger (Stereophile) and even (shockingly!) Roy Gregory (Hi-Fi+) all gave that exact same turntable a rave review. What was the one major difference between us? I strongly felt the high sound-floor of the HR-X disqualified it, while not one of the three mentioned reviewers even brought up this issue as a problem.
