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From Perotin to Prokofiev (and beyond), performed by Caruso to Khatia, it's all here.

It is just one of the many mechanisms we can't unlearn through experience

"But did you notice that the narrator's conclusion was that "We can't ALWAYS believe what we hear". The fact remains that, mostly, we CAN believe what we hear. (How could we function in the world otherwise?)"

Not really. And how we function is very much the reason we can't believe what we hear. Our senses evolved for the purpose of finding food and not being food. They work in tandem to recognize patterns that indicate danger and food as *quickly* as possible. *Not as accurately as possible* In terms of identifying danger the visual cues are much better than the aural cues and so the brain puts the eyes in charge when there is an apparent contradiction. Hence the McGurk effect. We as audiophiles seem to confuse our amazing skill for recognition with an actual complete and detailed aural memory. It's not the same thing. We are very good at recognizing the sound of a piano as the sound of a piano. But we are doing so by recognizing specific cues from the sound that our brain can quickly put together and then fill in the gaps. We don't remember things the way a tape recorder does. It's too slow. We would be Lion food out in the bush 200,000 years ago if we used full detailed aural memory for sound recognition because it is simply too much data to process quickly.

There is a massive body of studies on how we perceive sound, it is the field of psychoacoustics. And it's from this that I base my assertions on our ability or more to the point inability to use long term aural memory as any kind of meaningful reference. As reliable as it may *seem* it turns out to be remarkably unreliable when scrutinized in controlled tests. And it has nothing to do with experience. It's how we are wired. Just like the McGurk effect


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