Old ears and learning the Ropes... reply to artsybrute

[Air]

Actually I have listened to the Studio Amp multiple times in the past several years and my hearing after decades as an aircraft mechanic is certainly not any better than average in this group. Old ears may not be able to hear extremes at the edges like the kids, but we seem to derive the missing information from what we can hear. Like anticipating the next corner in the fog on the way home.
There is something very interesting going on with hearing response as PJ alluded to earlier with the “experienced stringed instrument tuners” analogy.
My first experience with this was at the RMAF when Doc B. had the Ampex 936(?)–tape head Seduction – Sex Amp combo beside the Nagra- Studio Amp with both running master tapes from P Stubblebine. Even after a day at the show, spinning tape for 8 hours and listening to hundreds of people, the Studio amp was magic. You listened to it and a smile just comes over your face. At the recent HeadFi meet in the Bay Area I had a chance to listen to it again, same experience. I listened to a Master Tape of Jacqui Naylor, Nagra, Studio Amp – HD 800’s and the K1000’s(pushed by Paramounts) There is magic in that box – and my old ears can hear it.
(Jacqui was sitting with us just for calibration purposes – it was a very good day!)

The point of this long winded post is to give the older guys some moral support. When you are wondering if you will be able to hear the difference between an Eros and a Seduction (should I spend the money if I can’t tell the difference?) or the Paramours and the Paramount’s the answer is YES. You will be able to hear it and furthermore,  I believe we refine the connections between ear and brain to maximize our abilities – auto bias if you will and we learn to hear anew.
I believe the greatest difference between Stubblebine, Romanowski, Doc. B, P.J. and the rest of us is. They work very diligently to train themselves to hear
Just listen to the music…

[artsybrute]

Oh, I definitely agree.

When we study hearing and the brain, we find that most of what we consider hearing is interpretation, memory and anticipation (reverse memory). That is one reason people who listen to one type of music for a long time have a much better appreciation of that type of music. Those raised on rock and roll usually feel the beat in any music. Those raised on plainchants listen for a flow, etc.

I grew up in the country, and I was the only one around who could not only hear dog whistles, I could distinguish which neighbor's whistle was being blown, and thus whose dog was being called. I would also tell my friends when a train was coming, as my low end was also unusual. I was raised in a house full of music, with my mother and me playing piano and my father a past sax player (one gig with Benny Goodman), with records always spinning, me in the local choir, etc. The music is always in my head, even when walking down a country path alone.

I'm only in my late fifties now, but my left ear is going. Even if I know every note that Ellen Foley is singing in Bat out of Hell, I need to listen for her these days. So I think a lot of the spaciousness of the music I hear is gone. Filling in the blanks (consciously or subconsciously) cannot compete with really hearing the music (and filling in other blanks that aren't even there). 

With all that said, my greatest high in music was the day in 1971 when I stopped by the library in University City, Mo., and spun some Joan Baez records there. I still don't know what they used for headphones or amp, but it was the most incredible sound I have ever heard. I went back there over the next couple of years and wore out all their records. The next time I'm on the west coast, you just tell me where to go to recapture that feeling. I'll be there.

For now, I build my own gear in order to hear what I want (need?) to hear. Front horns do it for me at this point, probably because of their clarity. At this point in my life, not only are my ears trained, but so are my hands. If I couldn't build my own gear I don't know what I would do. For that, I repeatedly thank Doc for forming Bottlehead, and for Tony Glynn for sending me to him. I readily admit that I sometimes get so much pleasure from building that I forgo listening for months on end.

Oh, and did I mention that I like to ramble?

Thanks for the post.