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conchyjoe7 wrote:
 That said, in totally uncontrolled conditions that are merely played and not rigged (another favorite accusation) most people still find what they perceive to be an audible (or visual) preference and difference in most things. |
Of course. And in things such as amplifiers operating within their limitations, usually this difference disappears when controls are used to remove psychological bias. The exceptions having been when the test procedure was faulty(sloppy) or the amplifier has measured response issue(s) that correlate with known audible threshold difference(s).
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I've said this many times before...If you can't hear any difference; good for you: Just think of how much money you have (or can) save(d) by being able to buy a $499.99 HTIB and it sounds as good to you as anything out there.
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That is not a fair statement. It is as if you want to lump together all things(amplifier, speakers, etc.). But this is not the case. The speakers in such units are invariably(from every one I have ever seen) worthless for hi-fi purposes. It is also probable that the amplifier used in most HTIB units is not useful for anything except the most benign loads, and very sensitive ones at that.
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It does make one wonder that what with no differences, why Abbey Road Studios would see fit to use B&W 802D speakers and power them with Classe Audio amps...hmmm?!
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The 802D is one of the finest quality studio monitors at any price. It has a linear frequency response, drivers with low resonance and a cabinet system with virtually no resonance. The cabinet design used also is free of virtually all cabinet diffraction(reflection) problems due to it's shape. It is only natural for it to be paired with high-end amplifiers, even though the amplifiers are not doing anything that a QSC RMX could not do.
-Chris