How to Appreciate Audiophile Music and Hi-Fi Audio Equipment
In the field of audio compression, there are two main methods: lossy compression and lossless compression. Common formats like MP3, WMA, and OGG are lossy. As the name suggests, lossy compression reduces audio sampling frequency and bitrate, resulting in a smaller file size than the original.
Another method is lossless compression. Lossless compression can reduce the file size while preserving 100% of the original audio data. When decompressed, the file matches the original in size and bitrate. Common lossless formats include APE, FLAC, and WAV. Below is a comparison of these two lossless formats:
FLAC (Free Lossless Audio Codec) is a mature lossless format, as renowned as APE! Its source code is fully open and compatible with nearly all operating systems. Its encoding algorithm is robust and thoroughly tested, allowing playback even if the encoding is damaged. Notably, FLAC was the first lossless format to gain widespread hardware support; devices like Rio's Karma hard drive portable player, Kenwood's MusicKeg car audio, and PhatBox's digital players support FLAC.
APE is a format produced by compressing WAV audio using the Monkey's Audio program. Compressed APE files are roughly half the size of the original WAV. However, this compression is non-destructive; decompressing an APE file yields a WAV identical in size to the original, hence APE is termed a lossless audio compression format.
WAV (Waveform Audio File Format), developed by Microsoft, is one of the earliest digital audio formats. It's widely supported on Windows platforms. WAV supports many compression algorithms, bit depths, sample rates, and channels. Using 44.1kHz sample rate and 16-bit quantization, WAV sound quality rivals CD. However, its large storage requirements hinder sharing and distribution.
(2) Understanding Lossless Music: Appreciation Guide
Music listening primarily involves three components: Treble (Highs), Midrange (Mids), and Bass (Lows) [analogous to painting: highlights, mid-tones, shadows; a work needs these three planes for dimensionality]. Many know this, but how do we distinguish and position these frequencies? The human ear is sensitive to small increases in loudness for faint sounds. However, once loudness surpasses a certain level, further increases yield little perceived change.
Typically, the audible spectrum is divided into thirds using octaves to define Bass, Midrange, and Treble: Bass: 20Hz-160Hz. Midrange: 160Hz-2000Hz. Treble: 2000Hz-20kHz. Bass: Audiophiles often say, "Bass is the soul of music!"
Good audio systems reproduce bass as tight, precise, solid, and clean. (Representative instruments: Drums, Cello). Midrange: This is the human ear's preferred range. In music, mids should be sweet, detailed, and natural. Human speech occupies this range (women's slightly higher than men's). (Representative instruments: Horn, Guitar). Treble: If bass is the soul, treble is the essence. Treble should sound clear, sweet, smooth, and fluid. (Representative instruments: Violin, Flute).
Example: Listen closely to the highs, mids, and lows in Cai Qin's "Dukou". The bass drum is full and powerful (two light, one heavy). The guitar sounds crisp and fluid. Cai Qin's voice is magnetic, with very soft mids. Guitar and woodblock accompaniment provide solid rhythm. A violin interlude features exquisite, textured playing. The interplay of instruments and voice masterfully conveys the poignant beauty of lovers parting.
(3) Elements of HI-FI
1. Tonality (Tone Quality). "Quality" is an innate characteristic. Tonality refers to the intrinsic quality of sound, often confused with "timbre." What is sound quality? Analogy: Praising a shoe's quality means it fits well, is comfortable, and durable—not its style or trendiness. Similarly, tonality is the inherent quality of sound, while timbre is its external character.
2. Timbre (Tone Color). Timbre refers to the "color" of sound. Tonality (TONE QUALITY) and Timbre (TIMBRE or TONE COLOR) are clearly distinct concepts. We often hear: "This violin has a cold timbre," or "This violin has a warm timbre." Sound, like light, has color—perceived by the ear, not the eye. Generally, warmer timbres sound softer; colder timbres sound harder. Like fabric: Material is its quality; Color is its appearance—a clear distinction.
3. Frequency Response Balance & Control. This is easily understood but prone to misinterpretation. People say: "These speakers have too much treble, too little bass"—referring to frequency balance. The problem arises if dividing 20Hz-20kHz into just three bands (Bass/Mid/Treble) leads to imprecision. Long ago, references to instrument ranges and orchestral terms led to dividing the spectrum into seven segments: Sub-Bass, Bass, Lower Midrange, Midrange, Upper Midrange, Treble, and Upper Treble.
4. Soundstage Presentation. What is "Soundstage"? In the US, "Sound Field" and "Sound Stage" are distinct. "Sound Field" is the entire space filled with sound; "Sound Stage" specifically refers to the arrangement of instruments on stage (width, depth, height). In China, "Soundstage" usually means "Sound Stage"; "Sound Field" is covered by another term: "Sense of Space." So, "soundstage shape" refers to the reproduced arrangement of the orchestra.
For soundstage assessment, listen for: I. Soundstage Positioning; II. Soundstage Width; III. Soundstage Depth.
5. Density & Weightiness. Sound density is like comparing one kg of cotton to one kg of iron; iron is far denser. Though weight is equal, iron feels heavier. What does high sound density sound like? Strings have viscosity; wind instruments sound thick and full; percussion conveys a sense of air vibration. Ultimately, instruments and voices sound more stable, solid, and realistic.
6. Transparency. Transparency is almost an experiential term, hard to define. Some recordings/equipment sound crystal clear; others seem veiled. Experienced listeners recognize this. Transparency is crucial for audiophiles because poor transparency hinders judgment of other aspects. The best transparency is soft, causing no ear fatigue; poor transparency is like harsh sunlight—visible but straining.
7. Layering. Layering is easily understood: Can you clearly distinguish rows of instruments from front to back? On TV, distinguishing dark grey from black indicates layering. Similarly, in audio, instruments shouldn't blend together. Better still, hear the space between instruments for optimal layering.
8. Imaging (Localization). Imaging means precisely "locating" sounds. Poor focus means weak imaging; poor solidity means weak localization. Poor mic technique or mixing can cause image drift. Room acoustics (direct vs. reflected sound ratio) also affect localization. The goal: Instruments or voices should project clearly and stably "located" in space, without wandering or blurring.
9. Liveliness (PRaT). Liveliness relates to transient response, speed, and dynamic contrast. It makes music sound vibrant, not lifeless. This is key to enjoyable music, like a great conductor bringing vitality versus a poor one making it dull.
10. Solid Imaging & Physicality. Imaging solidifies ethereal sound images into tangible entities; it renders voices or instruments with three-dimensional presence. Often grouped with physicality, we treat them distinctly for clarity. Good imaging makes sounds more projected and dimensional—sharper contours.
11. Resolution. This term is straightforward. Camera lens resolution differences are known; TV resolution distinguishing black hair strands indicates clarity. Good audio resolves even the subtlest, most complex details. Note: Resolution doesn't encompass all detail reproduction or layering.
12. Speed & Transient Response. Speed is the result of transient response, reflecting rise time and slew rate. Often termed "responsiveness" or "speed." For clarity, "speed" is preferred. Both refer to how fast equipment reacts.
13. Dynamic Contrast. Dynamic contrast refers to the difference between loud and soft passages. Classical music has large dynamics (wide loud/soft range). Subtle dynamic contrast involves very close loudness levels. Simply: Strong contrast is waves crashing rocks; subtle contrast is lake ripples in a breeze.
14. Instrument/Voice Scale. What scale is realistic? Idealists want orchestral proportions scaled down to the listening room—impossible. Example: In a piano/violin sonata, the piano physically dwarfs the violin. Recording without boosting the violin buries it. Correct scaling adjusts for musical needs, not blind reduction. Same for voices.
15. Texture & Air. Texture here isn't tonality; it's the tactile quality of the initial attack—the scrape of a bow, the strike of a drum. Saying "good violin bow texture" means it sounds real. "Air" is the breathiness or ambience—the sense of sound wave vibration. Texture is fidelity, mostly the initial contact sensation.
16. Detail Reproduction. Detail generally means subtle instrument nuances, ambient reverberations, and all recording space noises. Detail reproduction is easily compared via A/B testing. Why do some systems reveal more detail? Low distortion, high S/N ratio, high sensitivity, resolution, transparency all contribute. Detail-poor systems sound flat/boring; detail-rich systems are engaging.
17. Sense of Space (Ambience). We often say a system (gear, recording, room) that "floats the soundstage" also lets you "see" the space. Truly good soundstage/space is "visible," not just heard. What is space? It's the physical size of the recording venue. Reproducing space requires excellent detail, especially ambient reverberation.
18. Overall Balance. Any recording or audio component should achieve overall balance, like a conductor leading an orchestra. An orchestra of soloists playing independently lacks cohesion despite individual skill. Balance, like judging an orchestra, relies on extensive listening experience.
19. Component Character. Recordings and components have characters like people: gentlemanly, aggressive, gentle, passionate. Character affects synergy. Pairing two aggressive components is unpleasant; pairing two sluggish ones is frustrating. Understanding character is essential.
20. System Synergy. As mentioned, components have characters. Poor synergy often misleads judgments more than component quality itself—a common regret for experts and enthusiasts. Synergy must consider the musical characteristics of each component.
(4) Summary:
This guide aims to foster discussion and elevate appreciation skills. Questions about system synergy are common; this guide helps define preferences for suitable audio choices. Preferences, hearing, taste, and budget vary—choose based on personal needs. Share knowledge to collectively enhance appreciation!
Another method is lossless compression. Lossless compression can reduce the file size while preserving 100% of the original audio data. When decompressed, the file matches the original in size and bitrate. Common lossless formats include APE, FLAC, and WAV. Below is a comparison of these two lossless formats:
FLAC (Free Lossless Audio Codec) is a mature lossless format, as renowned as APE! Its source code is fully open and compatible with nearly all operating systems. Its encoding algorithm is robust and thoroughly tested, allowing playback even if the encoding is damaged. Notably, FLAC was the first lossless format to gain widespread hardware support; devices like Rio's Karma hard drive portable player, Kenwood's MusicKeg car audio, and PhatBox's digital players support FLAC.
APE is a format produced by compressing WAV audio using the Monkey's Audio program. Compressed APE files are roughly half the size of the original WAV. However, this compression is non-destructive; decompressing an APE file yields a WAV identical in size to the original, hence APE is termed a lossless audio compression format.
WAV (Waveform Audio File Format), developed by Microsoft, is one of the earliest digital audio formats. It's widely supported on Windows platforms. WAV supports many compression algorithms, bit depths, sample rates, and channels. Using 44.1kHz sample rate and 16-bit quantization, WAV sound quality rivals CD. However, its large storage requirements hinder sharing and distribution.
(2) Understanding Lossless Music: Appreciation Guide
Music listening primarily involves three components: Treble (Highs), Midrange (Mids), and Bass (Lows) [analogous to painting: highlights, mid-tones, shadows; a work needs these three planes for dimensionality]. Many know this, but how do we distinguish and position these frequencies? The human ear is sensitive to small increases in loudness for faint sounds. However, once loudness surpasses a certain level, further increases yield little perceived change.
Typically, the audible spectrum is divided into thirds using octaves to define Bass, Midrange, and Treble: Bass: 20Hz-160Hz. Midrange: 160Hz-2000Hz. Treble: 2000Hz-20kHz. Bass: Audiophiles often say, "Bass is the soul of music!"
Good audio systems reproduce bass as tight, precise, solid, and clean. (Representative instruments: Drums, Cello). Midrange: This is the human ear's preferred range. In music, mids should be sweet, detailed, and natural. Human speech occupies this range (women's slightly higher than men's). (Representative instruments: Horn, Guitar). Treble: If bass is the soul, treble is the essence. Treble should sound clear, sweet, smooth, and fluid. (Representative instruments: Violin, Flute).
Example: Listen closely to the highs, mids, and lows in Cai Qin's "Dukou". The bass drum is full and powerful (two light, one heavy). The guitar sounds crisp and fluid. Cai Qin's voice is magnetic, with very soft mids. Guitar and woodblock accompaniment provide solid rhythm. A violin interlude features exquisite, textured playing. The interplay of instruments and voice masterfully conveys the poignant beauty of lovers parting.
(3) Elements of HI-FI
1. Tonality (Tone Quality). "Quality" is an innate characteristic. Tonality refers to the intrinsic quality of sound, often confused with "timbre." What is sound quality? Analogy: Praising a shoe's quality means it fits well, is comfortable, and durable—not its style or trendiness. Similarly, tonality is the inherent quality of sound, while timbre is its external character.
2. Timbre (Tone Color). Timbre refers to the "color" of sound. Tonality (TONE QUALITY) and Timbre (TIMBRE or TONE COLOR) are clearly distinct concepts. We often hear: "This violin has a cold timbre," or "This violin has a warm timbre." Sound, like light, has color—perceived by the ear, not the eye. Generally, warmer timbres sound softer; colder timbres sound harder. Like fabric: Material is its quality; Color is its appearance—a clear distinction.
3. Frequency Response Balance & Control. This is easily understood but prone to misinterpretation. People say: "These speakers have too much treble, too little bass"—referring to frequency balance. The problem arises if dividing 20Hz-20kHz into just three bands (Bass/Mid/Treble) leads to imprecision. Long ago, references to instrument ranges and orchestral terms led to dividing the spectrum into seven segments: Sub-Bass, Bass, Lower Midrange, Midrange, Upper Midrange, Treble, and Upper Treble.
4. Soundstage Presentation. What is "Soundstage"? In the US, "Sound Field" and "Sound Stage" are distinct. "Sound Field" is the entire space filled with sound; "Sound Stage" specifically refers to the arrangement of instruments on stage (width, depth, height). In China, "Soundstage" usually means "Sound Stage"; "Sound Field" is covered by another term: "Sense of Space." So, "soundstage shape" refers to the reproduced arrangement of the orchestra.
For soundstage assessment, listen for: I. Soundstage Positioning; II. Soundstage Width; III. Soundstage Depth.
5. Density & Weightiness. Sound density is like comparing one kg of cotton to one kg of iron; iron is far denser. Though weight is equal, iron feels heavier. What does high sound density sound like? Strings have viscosity; wind instruments sound thick and full; percussion conveys a sense of air vibration. Ultimately, instruments and voices sound more stable, solid, and realistic.
6. Transparency. Transparency is almost an experiential term, hard to define. Some recordings/equipment sound crystal clear; others seem veiled. Experienced listeners recognize this. Transparency is crucial for audiophiles because poor transparency hinders judgment of other aspects. The best transparency is soft, causing no ear fatigue; poor transparency is like harsh sunlight—visible but straining.
7. Layering. Layering is easily understood: Can you clearly distinguish rows of instruments from front to back? On TV, distinguishing dark grey from black indicates layering. Similarly, in audio, instruments shouldn't blend together. Better still, hear the space between instruments for optimal layering.
8. Imaging (Localization). Imaging means precisely "locating" sounds. Poor focus means weak imaging; poor solidity means weak localization. Poor mic technique or mixing can cause image drift. Room acoustics (direct vs. reflected sound ratio) also affect localization. The goal: Instruments or voices should project clearly and stably "located" in space, without wandering or blurring.
9. Liveliness (PRaT). Liveliness relates to transient response, speed, and dynamic contrast. It makes music sound vibrant, not lifeless. This is key to enjoyable music, like a great conductor bringing vitality versus a poor one making it dull.
10. Solid Imaging & Physicality. Imaging solidifies ethereal sound images into tangible entities; it renders voices or instruments with three-dimensional presence. Often grouped with physicality, we treat them distinctly for clarity. Good imaging makes sounds more projected and dimensional—sharper contours.
11. Resolution. This term is straightforward. Camera lens resolution differences are known; TV resolution distinguishing black hair strands indicates clarity. Good audio resolves even the subtlest, most complex details. Note: Resolution doesn't encompass all detail reproduction or layering.
12. Speed & Transient Response. Speed is the result of transient response, reflecting rise time and slew rate. Often termed "responsiveness" or "speed." For clarity, "speed" is preferred. Both refer to how fast equipment reacts.
13. Dynamic Contrast. Dynamic contrast refers to the difference between loud and soft passages. Classical music has large dynamics (wide loud/soft range). Subtle dynamic contrast involves very close loudness levels. Simply: Strong contrast is waves crashing rocks; subtle contrast is lake ripples in a breeze.
14. Instrument/Voice Scale. What scale is realistic? Idealists want orchestral proportions scaled down to the listening room—impossible. Example: In a piano/violin sonata, the piano physically dwarfs the violin. Recording without boosting the violin buries it. Correct scaling adjusts for musical needs, not blind reduction. Same for voices.
15. Texture & Air. Texture here isn't tonality; it's the tactile quality of the initial attack—the scrape of a bow, the strike of a drum. Saying "good violin bow texture" means it sounds real. "Air" is the breathiness or ambience—the sense of sound wave vibration. Texture is fidelity, mostly the initial contact sensation.
16. Detail Reproduction. Detail generally means subtle instrument nuances, ambient reverberations, and all recording space noises. Detail reproduction is easily compared via A/B testing. Why do some systems reveal more detail? Low distortion, high S/N ratio, high sensitivity, resolution, transparency all contribute. Detail-poor systems sound flat/boring; detail-rich systems are engaging.
17. Sense of Space (Ambience). We often say a system (gear, recording, room) that "floats the soundstage" also lets you "see" the space. Truly good soundstage/space is "visible," not just heard. What is space? It's the physical size of the recording venue. Reproducing space requires excellent detail, especially ambient reverberation.
18. Overall Balance. Any recording or audio component should achieve overall balance, like a conductor leading an orchestra. An orchestra of soloists playing independently lacks cohesion despite individual skill. Balance, like judging an orchestra, relies on extensive listening experience.
19. Component Character. Recordings and components have characters like people: gentlemanly, aggressive, gentle, passionate. Character affects synergy. Pairing two aggressive components is unpleasant; pairing two sluggish ones is frustrating. Understanding character is essential.
20. System Synergy. As mentioned, components have characters. Poor synergy often misleads judgments more than component quality itself—a common regret for experts and enthusiasts. Synergy must consider the musical characteristics of each component.
(4) Summary:
This guide aims to foster discussion and elevate appreciation skills. Questions about system synergy are common; this guide helps define preferences for suitable audio choices. Preferences, hearing, taste, and budget vary—choose based on personal needs. Share knowledge to collectively enhance appreciation!