搜索了一下LINN网站，有LINN关于tunedem的原文，LINN大力倡导用此法！

http://www.linn.co.uk/tunedem

The philosophy at Linn is very simple — if it sounds better, it is better.
The philosophy at Linn is very simple — if it sounds better, it is better. That’s why we always recommend you listen and compare music systems before choosing the right one for your home. It’s really easy using our Tune Dem know-how.
When carrying out an A/B demonstration, it is sometimes possible to be confused by extraneous factors such as loudness and tone. The Tune Dem is a way to compare the two products and decide on how easy it is to follow the tune and appreciate the musical piece as a whole on each one — this allows you to hear quite clearly which product sounds better. The method involves silent repetition of the sound from the loudspeakers, silently singing along with the sound from the speaker. The easier this is to do, the more accurate the system performance.
The Tune

Our favourite method of evaluating the musical performance, and thus the performance of the hi-fi, is simply listening to the tune.
Many people immediately dismiss this as being the obviously too simplistic to provide meaningful results. But, in actual practice, this is an all-encompassing technique that more clearly brings out the differences in hi-fi systems than any other method of evaluation that we have ever used.
The music on a record consists of a signal that, at any instant, can be described with two parameters, frequency and amplitude (or pitch and loudness).
Any type of distortion will change frequency, amplitude or both. And it rarely does this in a linear manner, meaning that some frequencies or amplitudes are changed more than others are. These changes in frequency and amplitude alter the tune by changing the pitch relations in the music. For example — since the perceived pitch of a note consists of the sum of its fundamental plus its harmonics, a distortion that adds extra harmonics will shift the pitch of that note up slightly. Likewise, a distortion that results in the rolling-off of higher frequencies (thus reducing the amplitude of some harmonics) can lower the perceived pitch.
Our musical scale is composed of a series of fixed , predictable steps and our brain has an uncanny ability to follow those steps, determining when errors have been made. It is much like climbing a set of stairs. As long as all the steps are the same you can comfortably walk up the steps, come down the steps, run up, run down, take two steps at a time, even do it in the dark. However, change the size of just one step and you are likely to fall on your face.
Following the tune is much the same. If you try to follow along with the tune you will find that, on a good hi-fi system, the tune will seem to make more sense. The steps will be more regular. The notes that one instrument is playing will have some relationship to the notes that another instrument produces. You will even frequently know what note is coming next.
In the end, the better the system the less damage it does to the pitch relationships and the easier it is to follow the tune. And, since any type of distortion, regardless of its source, must alter the tune. The Tune Dem method is a comprehensive test of a hi-fi system’s musical performance.
"A fighter pilot, sailor or artist is taught how to look, just like a musician or an audio engineer has to learn how to listen."
Ivor Tiefenbrun MBE
Tune Dem method

The approach we suggest when doing an A/B comparison is to listen to component A, then listen to B. If one sounds better, buy it. We have always said, “If it sounds better, then it is better.”
You will find it easier to compare components in an A/B situation if you play only a brief passage of music (as little as ten seconds and certainly no more than thirty seconds) on one component. Repeat this brief passage a few times on the first product then switch to the second component and play the same passage.
By keeping the passages short, you will keep the “tune” fresh in your mind and therefore be more able to judge the relative difficulties in following the tune on each component.
If you have any problems in detecting differences in regard to the ease of following the tune, don’t panic. Just sit back, relax and try again. Ask yourself a few simple questions:
Can you hear all the musicians playing all of the instruments all of the time?
Can you always follow the tune played by every instrument?
How easy is it to sing-along/follow with the melody?
The remarkable thing is that once you do hear the difference you’ll find that it’s much more apparent than you originally thought. And the more you listen the easier this method will become. With a little practice, you‘ll find that you have a listening test that is consistent, repeatable, and best of all, a very reliable indicator of the performance of any hi-fi component.
Note:

Avoid the use of comparators or switching boxes. The extra connectors will degrade the signal of both components under test, frequently bringing the level of performance down to that of the switch box, making any meaningful evaluation impossible.
We also strongly suggest that all component evaluations be done in a demonstration room that contains only one set of loudspeakers. Additional speakers, even if they’re not being used, will vibrate in sympathy with the original sound source. This added noise makes it more difficult to evaluate the sound. Not only does it make it harder to judge the tune, it tends to favour a component that is more aggressive sounding. This unfairly penalises a good product by masking some of the low-level detailed information that only the best components are capable of reproducing.
Why not try it for yourself?

Like our engineers and designers, Linn's expert retailers are trained in the Tune Dem. They can help you use it to find the best system for you. They can even tailor your hi-fi to your home. It's all part of the service.
Our advice has always been; if it sounds better, it is better. Just Listen.

既然LINN倡导用此法调系统，它本身生产、测试、定型也肯定用，常教授是LINN KDS用家，要真正得法何不遵照厂家官方提供的办法更准确捷径呢？

32168兄：个人认为，拍子是大家都可简单通用的准绳，反而什么音色法、三频平衡法、音场法是难以简单客观定性 ...
百线生 发表于 2014-8-9 23:29

个人还是比较赞同百线版的打拍子理论，本人的系统由于长期受到不良电的影响（现在基本已得到控制），声音的拍子确实受害匪浅。在电不受干扰的情况下音乐的连贯性、流畅感和节奏会带动我们跟着摇头晃脑打拍子，一旦电受到干扰后就大不同了，你会越听越累最后实在挺不住洗洗睡去了。所以每次开声自然就得听听声音能否跟得住拍子，跟不住又得折腾了，我可吃了不少这种苦哦

”拍子仅仅作为调声的某一个环节尚可理解，作为调声大法值得商榷。”

呵呵，这是原话，亦是原意，论坛作为一个各抒己见的平台，没必要隐瞒自己的观点，求同存异吧，俗话说，海纳百川，有容乃大。

谢谢百线生兄把linn主页的tunedem介绍发出来，我的帖子有一半内容是翻译那里的。

留意这一句
“Like our engineers and designers, Linn's expert retailers are trained in the Tune Dem”
如同我们的工程师和设计师，Linn的专业零售商也经过了TuneDem的培训。
如果我们也能接受Linn的Tunedem培训，那绝对更快地明白这个方法。同时也说明这个方法是有一定难度的。

怎样都好，我觉得TuneDem就是一个方法，如果你原来已经有一套方法，现在多学一个Tunedem是没有矛盾和冲突的。就像你去打仗，你已经拿着一只AK47了，那为什么要介意多拿一个手雷呢？

如果细心留意Linn的原文，你会发现Tune Dem两个词后面有TM，意思是Trade Mark。这两个词已经被Linn注册了，就像Linn的产品一样。而在很多国外的论坛中，有时人们不用TuneDem这两个词，而是用Tune Method, Tune办法。虽然是同一个意思，但是目的是不想把这个方法仅仅与Linn的用家绑定起来，其他牌子的用家也能够从中得益。这也是开始写这个贴时，没有把原文的链接附上的原因之一。

还有一个体会是，如果你用的是一套Linn，音源，功放，音箱都是Linn的。调整Tunedem是要容易很多的，或者说系统的Tunedem特性就很明显，把一套linn调成不容易跟随，反而更难。但如果你仅仅用的是Linn的音源，其他是别的牌子，那可能Tunedem起来就复杂很多，因为很难说其他的牌子在设计制造中，是不是也包含了自己独有的一套方向和方法呢？这真的要把其他牌子和它们有可能有的方法了解了，才好判断这种搭配是否work。

人应该有自己的思考能力与判断能力才不至于随波逐流、人云亦云，所以我觉得LINN官网有关tunedem的原文值得思考而非金科玉律。
浅见，欢迎拍砖。

回复 32168 的帖子

要搞清楚一件事，实际情况是，现在不是我想了一个方法要介绍给大家，然后大家决定参考还是不要人云亦云。而是linn在1974年提出了他们的方法。是linn，不是我。

所以对于尤其购买了和使用linn的烧友，如果你一方面你喜欢linn的器材，但另外一方面你又不认同linn自己的tunedem，那我觉得很怪。当然这是个人的选择。

回复 32168 的帖子
认同168兄的观点,但这种思考与判断能力养成不是一朝一夕的,修行过程中也不乏误入歧途的.也正是因为失去判断力,才使得国内市场选来选去花样不多.

   

回复

要搞清楚一件事，实际情况是，现在不是我想了一个方法要介绍给大家，然后大家决定参考还是不要人云 ...
1kevin 发表于 2014-8-11 17:42

不少linn的发烧友都知道Iinn是tunedem方法的倡导人，十几年前玩CD12的时候参考过tunedem，真心讲句不好掌握，试一下无妨，用来调声还是传统方式靠谱，楼主辛苦了，没必要多疑。

既然人家官网上有明确作为调试方法，还有专门的培训，作为一个品牌公司，不会随随便便的写个东东胡弄大伙儿的。也许是我们自己没掌握诀窍也有可能的。当然我自己的调声也不是用LINN的TUNEDEMO法。如果我用过了有成效，我肯定诚意推荐的。就像我现在用的是王老师的以“平衡”和“音场”为目标的扩散+吸收方法，还是简单有效的。以后我新听音室装修，考虑到整洁美观，我倾向于石井申一郎先生的方法，但考虑到层高只有2.7米，可能还会继续用采王老师的办法，就是要把扩散板和吸音棉尽量与家居和谐起来。
支持下1kevin兄，多谢您的介绍，让我了解了新的调声方法。

既然人家官网上有明确作为调试方法，还有专门的培训，作为一个品牌公司，不会随随便便的写个东东胡弄大伙儿 ...
lwwlewis 发表于 2014-8-11 22:09

       条条大道通罗马，发烧友谁没有一两招自己熟悉顺手的调音法？大家也没必要统一、规范，tunedem法开始确实不易理解，但是训练一下就很容易掌握运用。另外，我觉得所谓调整音场、平衡因为有更多的主观判断，所以千人千法无准法，而且是以相对静止的表达，如果一套系统以音场、音色、音调平衡就觉得完成的话，遇到流动的音乐时很多便觉得缺乏流畅性、无活生感、无音乐性(无节奏）、无fell；反而以打拍子作为音响系统的校准方法，更简单正路，因为音乐是以拍子为准则流动的，一首音乐作品只有一种拍子是对的，即乐团指挥棒是唯一的步调和准则，你指挥的乐团可以有8把大BASS，低音更厚重，也可以6把轻快点，但（音调的三频平衡与否）并不能影响“拍子”，同理小提琴全换17世纪古琴，音色够毒了；乐团编制扩到120人（音场够大够深了吧）。。。反正这些无论怎么变都可以，只有指挥棒的“拍子”不变！现实家访很多烧友就是，家里调音场很好、音色也很毒，但是就是播音乐没有feel，我说你播段埃尔加军队进行曲来吧，果真出来的节奏都操不了步（节拍都乱了跟不了的），它播的还是音乐吗？节拍是音乐的基础，准确了以后，音色调整、音场调整是锦上添花！搞清楚了谁是关键和先后顺序，虽然条条大道通罗马，但是有些是捷径顺路，有些要走许多冤枉路！既然如此，何不试试，看它是否皇帝新衣？
       还补充一点，用拍子法调的系统，基本上播什么碟都好听、可听，因为拍子对了，音乐感出来了，这个比音场、音色关键的多！如果用音色法、音场法调的系统，播相关录音很好的好像没什么事，也好听-------被音色、音场吓住了，但是播其他碟就索然无味！具体的例子是：本人自从以拍子法为主调整的801S3系统，声音不蒙、不肥、不慢，连以前觉得很一般的DG碟都非常好听------音乐古典韵味正路、细节丰富、各频段平衡大气。我曾请教于老郭，郭曰：系统未调好就觉得DG碟声薄不好听，系统调好了DG碟是非常好听的！

条条大道通罗马，发烧友谁没有一两招自己熟悉顺手的调音法？大家也没必要统一、规范，tunedem法开 ...
百线生 发表于 2014-8-12 00:35

百版都是自己一路过来的经验之谈，有理有据，钦佩。看到说埃尔加军队进行曲都超不了步的，忍不住都笑出了声......DG的古典音乐碟的录音效果确实不如RCA、TELARC等，音场朦，乐器线条也臃肿些，但他把握交响乐的整体音色一致性上无出其右，各声部之间的平衡处理很好。现在的4D技术下，原来偏硬稍显冷峻的音质也柔软了许多，而厚重结实、音色高度一致的特点依然保留！是我心目中古典音乐唱片的第一。

百版，王老师的用扩散+吸收，以“平衡”+“音场”为目标的调整方法对于刚刚开始的烧友确实是比较难以准确把握的，需要周围同道好友中的老手帮助指引。