Why we (often) upgrade the wrong things (first) and ignore the important things


I continue to be impressed by this person. See:

https://www.youtube.com/watch?v=8jWM0NzE_us&t=50s

He argues for applying a bottleneck principle to audio upgrades: system performance is always capped by its dominant constraint, so upgrading any non-limiting component produces only incremental refinement, not genuine improvement.

The hierarchy of constraints, roughly in descending magnitude, runs: room acoustics and speaker placement (capable of 10–20 dB swings), amplifier headroom and load stability, gain structure alignment, DAC output characteristics, and finally cables. Most audiophile upgrade behavior inverts this hierarchy — people swap DACs and cables because they’re easy, not because they’re limiting.

The gist is a distinction between **audible change** and **ceiling removal**. Any swap can produce a detectable difference; only removing the dominant constraint raises the system’s maximum capability. 

He gives a way to test it. When we remove a constraint, that feels unmistakable and immediate — dynamics expand, you stop gear-monitoring and just listen — whereas novelty-driven changes require effortful attention to detect and fade in significance.

Room treatment and gain-structure analysis are effortful; cable swaps are not. Making this worse are the ways we mis-focus on novelty, which amplifies perceived differences. We think we’ve made a structural improvement but we have not, actually.

 

hilde45

@snilf  Thanks for your post. Really well put, and the coffee anecdote is great.

I think you're exactly right that the "objective" standard unravels quickly. The notion of reproducing the "original performance" falls apart the moment you look at how recordings actually get made. The same album remastered in different decades can sound dramatically different. The studio where the mix was finalized almost certainly used monitors nothing like what any of us play back on at home. The recording engineer made dozens of aesthetic choices — mic placement, EQ, compression, reverb — that already represent an *interpretation* of the original event. So which version is the "objective" reference? There isn't one. It's interpretations all the way down.

What I find interesting is the quiet rhetorical move where "objective" slides into "real" and then into "better." Measurements become a proxy for accuracy, accuracy becomes a proxy for fidelity to something real, and fidelity to the real becomes the standard of quality. But each of those steps is a philosophical leap, not a given. And I think that chain of identifications is often a way of dodging harder questions — namely, what makes for genuinely good *interpretive* criticism of sound reproduction? The kind that's nuanced, cumulative, built on experience and careful listening, and open to revision. That's the hard work, and slapping "objective" on a frequency response graph lets you skip it.

As you probably know, your coffee story is actually a beautiful illustration of something Hume argued about taste. He insisted that taste isn't just brute preference — it's a capacity that can be educated, refined, and improved through experience and exposure to good examples. You didn't just switch to filtered water and decide to prefer it arbitrarily. You trusted a knowledgeable friend, gave it time, and your palate genuinely developed: the cultivation of discernment. Hume would say your current preference is *better* than your old one, not because filtered water is "objectively" superior in some measurable sense, but because your taste is now more informed, more experienced, and more capable of drawing relevant distinctions. That's the kind of standard worth aspiring to — not objectivity, but educated judgment.

@emergingsoul If the videos feel too long, that might say more about your attention span than about the videos. He's working through complex topics that don't reduce to soundbites. And what might come across as condescension is probably just what it feels like when someone is being thorough about something you're not fully tracking. That's not his problem to fix.

@snilf @hilde45 @kerrybh 

This "objective" vs. "subjective" debate is, to my mind, central to audiophilia. 

You make some excellent points. However, and this is not a criticism of you, I don’t find the loaded subjective versus objective characterisation at all helpful. It is divisive and inaccurate.

A much better way is to consider qualitative and quantitative data. Both of these are equally valid and have their place in audio. There is no scientific reason to privilege one of them over the other.

@newton_john I believe that @snilf and I were both trying to push the discussion beyond the subjective vs. objective language. Why do you like qualitative vs. quantitative better? I have my reasons but I'd rather hear yours, first.