The illusion of objective listening
We like to think our ears are reliable measuring instruments. In reality, how we perceive sound depends enormously on context: what we see, what we know, what we expect. It's not a flaw of sound engineers; it's simply how the brain works.
The most common traps
Volume
A slightly louder sound seems more present, richer, more "pro". It's trap number one: a lot of processing adds a little level and therefore seems better, even when it isn't.
What we see
An attractive interface, moving meters, an impressive EQ curve: our eyes influence our ears. We often "hear" what we see changing on screen.
The price
An expensive plugin seems better simply because it's expensive. It's a well-known placebo effect that affects everyone, professionals included.
Expectations
If you know B is "the analogue emulation", you'll easily find warmth in it. If you know you've just switched a process on, you'll hear an improvement.
Why classic A/B isn't enough
Switching between two versions while knowing which is which protects you from none of these biases. For a comparison to be honest, two conditions are needed:
- The same volume for A and B.
- Not knowing which one you're hearing.
That's exactly what Diffonic does: automatic LUFS matching, then a six-step blind test in which A and B are swapped after each answer, with an accuracy score at the end.
Diffonic
Find out if a change really sounds better: level-matched A/B and blind test.
$29 $58 -50%
VST3 · AU · AAX · Windows & macOS
See DiffonicReading your score
- Almost every answer right: the difference is real and audible to you.
- About half: you're guessing; in those conditions, the difference isn't perceptible.
- In between: the difference may be subtle; repeat the test on another passage or another day.
A score close to chance isn't a failure: it's valuable information. It saves you an hour spent on a setting that changes nothing, or buying a plugin you don't need.
Myths to test for yourself
Blind tests often challenge certainties. Here are a few to check for yourself, at matched volume:
- "192 kHz sounds better than 44.1 kHz."
- "x16 oversampling makes it sound more pro."
- "The expensive plugin is bound to beat the free one."
- "This analogue emulation has a warmth no digital plugin has."
- "A louder master sounds better." (At matched volume, it's often the other way round.)
The result depends on your equipment, the source and your ears. What matters is knowing rather than believing.
In everyday studio life
Choosing plugins
Before buying, compare the trial version with what you already own. You'll save money and space in your plugin list.
Validating mix decisions
Every important process deserves a check at matched volume. Mixes come out simpler and clearer.
Mastering
Compare your master with your mix and with a reference at matched volume: it's the only way to judge the mastering work itself, not just the gain in volume.
Talking with clients
Offering a client a blind listen to two versions is often more convincing than any technical explanation.
Becoming more objective
- Distrust your first impression when the volume changes.
- Close your eyes or hide the interface while listening.
- Take breaks: ear fatigue distorts judgement.
- Test regularly: objectivity can be trained.
In short
Our ears are excellent, but our brain influences them constantly. A level-matched blind test is the simplest way to separate what we really hear from what we think we hear. For the step-by-step method, see our guide to blind-testing your plugins with Diffonic.