People can usually tell in seconds whether they like a glass of wine, a piece of clothing, or the sound of speakers. But it may take years of research to accurately understand why people like or dislike these things. For wirecutter's audio writers, studying "why" is part of the job. Some readers may only want to know what is the best speaker or earphone, so they may not be willing to delve into topics such as decibel, dynamics, and dispersion. But if you are as interested in "why" as we are, please read on.
This is the first part of a two-part series that we have long wanted to do, in which we discussed how to evaluate sound in speaker and headphone reviews. In the first part, we will define the sound and explain the different sound elements we hear. In the second part, we will explain how to test the sound quality and how to test it.
Audio evaluation is complex because it is not just about the sound picked up by the human ear. This is about how the brain processes and interprets these sounds. Although there is more than a century of scientific knowledge behind today's audio equipment, people still judge them mainly by listening, and listening is affected by their hearing, surrounding environment, and even emotions. People often judge the quality of audio equipment through music. The music itself is the product of emotion, not science.
That is when evaluating the performance of outdoor speakers or a pair of headphones, audio commentators will still use and discuss some specific (measurable) characteristics. Knowing what these features are and your own preferences for each feature will help you choose the best audio device for yourself.
From the simplest point of view, a good sound is satisfying to the audience, just as any good food is good food to some extent. But for audio professionals, good sound means accurate and natural reproduction of instruments and sounds. Some listeners may want to change the sound according to their preferences, for example, raising the bass to increase the excitement, but if you do not have party speakers or another audio device to provide a reasonably accurate reproduction, you will not know what the artists and engineers intend to do when recording.
Therefore, the audio system should change the original recorded sound as little as possible. It should not enhance or weaken certain parts of the audio range relative to other parts. For example, if Ariana Grande's voice suddenly resembles Johnny Cash's deep, resonant tone, there must be something wrong. Similarly, if you play Lil baby and the bass does not make your car seat vibrate, it is also wrong. Or ed Sheeran's acoustic guitar sounds dull like it's stuffed with a wet cloth. You see.
