Woosyi's post, I believe, is an eloquent reminder of the absolute unassailbility of the "subjectivist" viewpoint. One's response to a particular component's performance, a particular car, a particular wine or a particular person is what it is, whether it can be replicated by another, explained by another, explained to another or verified by another. If you like the listening experience provided using amplifier A over that using amplifier B then your preference for amplifier A is established.
But it's clear that those participating in this hobby yearn to do more than simply listen to music on the most enjoyable system they can find. The very fact that people risk the wrath of employers by visiting these boards through the day suggests that people also wish to share their experiences, and to learn from others' experiences. The fact that people read audio magazines, and think even fleetingly about reviewers' comments, reflects a desire to communicate with others what we all experience. And this creates a problem:
How do I present real information about my wholly subjective listening experience in a way that will be meaningful to anybody who listens to or reads my comments?
I think one valid approach is to restrict one's self to comments that are truly verifiable: comments about things that can be measured, about effects that can be reproduced. To the extent that this facilitates an ongoing dialogue that is meaningful, I think such efforts are commendable. And I think the wholesale rejection of "objectivist" efforts along these lines by the so-called subjectivists does them a disservice. This approach is potentially insightful, as long as we know precisely into what it gives us insight.
Having said that, I appreciate there are some real concerns about utilising such a methodology. First, it requires an ongoing investigation into whether the "results", the "hard facts" produced by the supposedly verifiable experiments and testing procedures, are indeed objective and verifiable. Without this, the results have no credibility and therefore are not useful contributions to the dialogue.
This leads to the deeper concern of whether there is ANYTHING that can truly and objectively be ascertained that is in any way pertinent to appreciating the performance of a piece of equipment.
And finally, this methodology would seem to require a great deal of restraint not to muddy the objective waters with subjective inferences made from one's observations.
It seems to me that the so-called objectivists field objections to their efforts on all of these issues.
So, does it make sense for me to be an objectivist or a subjectivist? I wish to be neither. I certainly would like to be aware of insights generated by controlled experimentation and rigorous testing, but I don't want the extent of my audio conversation to be limited to arguments over experimental methodology. The only thing I could imagine that would be nearly as bad is to find myself floating in a sea of ambiguity, grasping at the millions of adjectives floating at the surface and knowing that none of them makes sense to me in the same way it made sense to its author. To read that one person finds his system to produce music with lots of "air", little "grain", great "neutrality" and with real "musicality" tells me only one thing for sure: he likes it. Anything beyond that is guesswork. I may as well be reading about druids or something...
Chad