[Arny Krueger]

wrote in message
ups.com
I discussed Arny's confession in the "Vinyl maven..."
thread in more detail but forty years of sound and fury
mountain finally bearing a squeaky, little mouse deserves
its own topic heading

Arny said in the in the "Vinyl maven ..." thread on
Nov.6:

"Your problem Mirabel is the fact that your demands are
totally unfair. You
want ABX to be certified with a specific kind of
peer-reviewed paper, completely ignoring the fact that no
other kind of listening evaluation
methodology has similar certification."

And if such "other kind" of listening "test" existed
outside of Arny's imagination it would not be
evidence-based either ie it would not be experimentally
proven ie it would not be acceptable as science either to
the engineering profession or to us audio consumer
peasantry.

Thanks Mirabel for admitting that you think that ABX is the only listening
methodology that is experimentally proven and acceptable as science to
either the engineering profession or to audio consumers.

That's what your last paragraph says, pure and simple.

Of course you're wrong again, Ludo. ABX is *not* the only listening
methodology that is experimentally proven and acceptable as science to
either the engineering profession or to audio consumers. There are a
number of other listening methodologies that are etc., etc., etc., just like
ABX. There's ABC/hr for example.

The point is that the non-level-matched, non-time-synched,
non-bias-controlled uncontrolled sighted listening procedures that many
audiophiles use is generally invalid because of three serious issues:

(1) Non-level-matched listening comparisons are invalid because they give
positive results that are mostl likely due to the absence of proper
level-matching. The identical same sound presented at two different levels
sounds different and can obscure other differences that may or many not be
present at the same time.

(2) Non-time-synched listening comparisons are invalid because they give
positive results that are most likely due to the absence of proper time
synching. It should be no surprise that comparing equipment with different
musical selections sounds different. Even the same performance presented at
two different times throughout the performance sounds different, and can
obscure other differences that may or may not be present.

(3) Without bias controls, the outcome of a listening comparison that would
otherwise be a comparison of two sounds that are identical or very similar
degenerates into a report on the prejudices and preconceived notions of the
listeners.