Audio snobbery

Disposable income of any amount does not guarantee a positive outcome when building a stereo system. When your money is not disposable you work harder to get a result that satisfies. Taking years to build something that is by all accounts beyond your means and yet glorious to listen to is infinitely more meaningful to some of us rather than just writing a check to some music sommelier. Maybe that is just me, but I certainly never thought of anyone who does it differently as a snob.

I don’t understand any of this! If I have the money and choose to buy high end gear why is this a problem for anyone? Nobody here knows how good my system sounds and in the end I only have to satisfy myself! Nobody else needs to be concerned about how much others spend on audio gear! We all have different financial situations and budgets. This is true about ANY hobby including cars, watch collecting or anything else! Having lots of disposable income doesn’t guarantee great sound but its better than not having enough money to buy nice gear! Why does this even need discussion? As far as equipment not living up to the hype. Get a loaner from a dealer or find a dealer with a Liberal return policy! As far as being an audio snob, people like their own gear and many audiophiles are older (Like me) and are pretty set in their ways when it comes to their systems. People are entitled to their own opinions. I look at this as a learning curve and I understand my audio preferences better every time I get a new piece of gear. That's part of the fun of the hobby for me. 

The audio snobbery is aimed more towards various listeners than anyone else. Folks who like warm equipment understandably discount cables and DACs, while those who seek every detail frequently belittle those liking a warmer system that hides details.

As for reviewers, I think there are some misconceptions.

"Most reviewers don’t have the ability to correctly capture the sound signature of a component, especially the old guys with hearing degradation."

A reviewer's hearing acuity is only one factor. Age-related hearing loss is common, particularly at higher frequencies, but it varies greatly from person to person. Experience gained over decades of critical listening can compensate for some limitations, while younger reviewers may have better hearing but less-developed listening skills. Neither age nor experience alone determines how useful a review will be.

The truth is that some older adults retain remarkably good hearing, and hearing tests don't fully predict critical listening ability. The ability to analyze and describe sound is a learned skill that often improves with experience.

So I would avoid implying that "old guys" are generally less reliable. A better criticism is that few reviewers—regardless of age—consistently provide sufficiently detailed, repeatable descriptions of a component's sonic character for readers with different priorities.

I have had to have frequent hearing tests for decades, and frankly, spatial cues are frequently found from high frequency harmonics and overtones. The Audiophiliac has since his youth loved Vandersteen speakers. To me earlier Vandersteens at least sound to me like speakers covered in moving blankets. He's not wrong, we just admire different qualities. 

Nor do I care to exploit, for purposes of s self promotion,  youthful reviewers general inexperience. Shall we look at conductors?

Unlike instrumentalists or singers, conductors are widely regarded as reaching their artistic peak later in life. There is no fixed age, but among musicians, critics, and orchestras, the broad consensus is:

30s–40s: Technical mastery and career building.

50s–70s: Often considered the artistic prime for many great conductors.

60s: Frequently viewed as the "sweet spot," combining decades of experience with sufficient physical stamina. One survey of the world's busiest conductors found an average age of about 62. 

70s–80s: Many elite conductors remain at or near their peak, particularly in repertoire requiring deep interpretive insight rather than sheer physical intensity. 

So, even if some or many(?) experience some hearing loss, it doesn't appear to stop their improving in their profession.

I once had a fellow talk about his generation not having held power as president and how my generation had done badly. I had to make him aware that a generation did not separate us, and that at that time my generation had not been elected to the presidency. I thought his ignorance was interesting. Morals, ethics, and fundamental beliefs, and sound temperment more than age generally determine good leadership. Having been in the military for some time I was surprised that he wasn't aware of that. Oh well, prejudices unexamined bite us all in the rear from time to time.

"I don’t understand any of this!"

I think it boils down to tribalism. They want others to see it as they do because being different threatens many people's egos. They don't understand or accept the views or values of others. They can't except the enjoyment of music being the glue. They want everyone to listen as they do. I used to dislike the warm sound guys because they attacked those who chase realism, or whatever. Fortunately I finally woke up.

If I have the money and choose to buy high end gear why is this a problem for anyone?

Either penis envy or a desire to look down upon others dissimilar?

Nobody here knows how good my system sounds and in the end I only have to satisfy myself!

That's what got me onto this. People post about X seeking affirmation. Screw that, your enjoyment should be your affirmation, IMO.

The following is my written recollection of how I have been moulded into my developed interest in music production, recorded music replay and electronic equipment. It is personal and not intended to be anything more than a sharing of my own experiences and how those experiences have been influential. Open-mindedness is the key; the willingness to not create limitations on experiencing audio devices of interest is a strength for becoming better educated in the practice of producing an audio system. 

It is nearly 40+ years since the initiation of having an interest in listening to Live Music. Even though recorded music was most likely listened to prior to being keen to experience Live Music, it is the latter which was the influence that developed into an interest in creating a substantial collection of recorded music  Albums, solely intended to be listened to as recorded music replays. Both have been strong influences in creating a side interest where audio equipment mechanics and electronics were to become a developing interest.

Today, I know a little more about Live Music performance, but have only really been influenced by the entertainment factor and not the technical aspects. I don't find myself taking the time out to further my understanding when info becomes readily available to do so. I certainly don't feel a need to add content to a discussion that is publicly shared. 

Today, I don't know a great deal more about Recorded Music, but I am considerably better educated than I was many years ago. I remain interested in acquiring Hard Media, and even though at the current time it is a decreased activity. There does remain an excitement about a newly acquired album to be replayed, as has always been present. I always have my focus on this interest and do regularly explore portals that introduce new artists and artists released recorded material. I do, on occasion, contribute by adding content to discussions that are publicly shared.

Today, I have a much better understanding of Audio Equipment, but I am not willing to refer to myself a tech savvy. When it comes to tech info needing to be processed, I have support readily available who are more than qualified to guide me.

For myself, audio equipment is all about the end sound produced and the design of the space in which the end sound is produced. I have been introduced to and demoed hundreds of systems across the years and got a very good grasp of the end sound I can wed to. I should also add that I have heard numerous systems I would refer to as very enjoyable, and numerous capable of producing a worthwhile listen for the musical experience they can generate. Using recollection, I am content in stating that I have not been introduced to an assembly of correctly functioning audio equipment that has not been able to produce a replay of recorded music, resulting in the end sound that is classed as totally unattractive. Different levels of attraction across assemblies, yes, that has occurred. 

As a result of the above experiences, I do broadcast about them by making them known to a wider audience. I do contribute by adding content to discussions that are publicly shared.

I communicate about them as a means to encourage others to be proactive, to receive a demonstration of audio systems containing an audio device that might be of interest. The commonly seen communication that advises making selections without obtaining experience of an item considered is one I feel compelled to discourage.

The commonly seen communication that advises making selections based on the Math associated with a design for an audio device is, for me, limiting. The individual who takes note of this info and is influenced to the point that they limit themselves by not investigating a way to receive a demo. Deprives themselves of having an experience of the end sound produced. For a certain individual, the demo experience can prove to be one which is able to become wedded with ease.