![]() Interestingly, the actual price of wine is not a reliable indicator of enjoyment. However, this effect does not occur when people drink the same wine under the guise that it is inexpensive. There is also increased activity in the brain’s medial orbitofrontal cortex, a brain area associated with pleasurable experiences. For instance, when people are told that wine is expensive, it is rated as more appealing ( Plassmann et al., 2008). A suitable analogy for vinyl appreciation may be found in consumer evaluations of wine quality. Despite this, there is a pronounced expectation that vinyl sounds better than other music formats. However, how the record is mastered, the vinyl weight and the quality and setup of the record player and amp also directly impact the listening experience. The explanation is that compressed files, such as mp3, employ lossy coding where the digital file is changed in ways that may potentially change the listening experience (e.g., Pohlmann, 2011). Vinyl records are often viewed as sounding richer ( Yochim and Biddinger, 2008 Byrne, 2012 Brown and Krause, 2020) and warmer ( Yochim and Biddinger, 2008 Brown and Krause, 2020) than other music formats. For example, the type of cup used to serve coffee directly impacts both the expectation of coffee flavour and the actual ratings of enjoyment of the coffee ( Carvalho and Spence, 2019). Other pertinent examples of the influence of expectation are the extent to how much people enjoy a visit to a museum ( Pekarik and Schreiber, 2012), how they interpret song lyrics ( Fried, 1996 North and Hargreaves, 2005), and even how they experience the taste of food. It influences perceptions of interpersonal power ( Baldwin et al., 2009), how teachers view students ( Rosenthal and Jacobson, 1968), and in medicine, expectation relates to placebo and nocebo effects (e.g., De la Fuente-Fernández et al., 2001 Geuter et al., 2017). ![]() Like many other products signalling eclectism, status, and novelty, vinyl records are also susceptible to prestige-seeking consumer behaviour ( Vigneron and Johnson, 1999).Įxpectation plays a role in how we interpret our physical and social world. A unifying movement across generations of music format users, be it Edison cylinders, 78s shellac records, vinyl records, or cassettes, is also the emergence of subcultures at the end of eras, bemoaning technology progress by holding on to past formats ( Plasketes, 1992). Preference for vinyl has multidimensional bases, spanning such as sonic qualities ( Yochim and Biddinger, 2008 Bartmanski and Woodward, 2015 Brown and Krause, 2020), an extension of self through the symbolism of eclecticism ( Brown and Krause, 2020), nostalgia ( Yochim and Biddinger, 2008 Brown and Krause, 2020), and authenticity ( Yochim and Biddinger, 2008 Bartmanski and Woodward, 2015 Brown and Krause, 2020). While overall global sales of physical copies of music, such as compact discs, are declining, the one category of physical sales that has continued to increase over the past several years is vinyl records ( Friedlander, 2018, 2020 Hoose, 2018 MRC Data, 2021). A multivariate analysis through a Canonical Correlation Analysis established that expectation of music format quality drove post-listening evaluations. Some participants were told that they were listening to vinyl when the musical selection was an mp3, while others were told they were listening to an mp3 while actually listening to vinyl. Participants were asked to listen to a selection of music on either vinyl or mp3. In this study, we sought to isolate the contribution of expectation to perceived sound quality. ![]() For this reason, we believe one aspect of vinyl sales is the expectation that vinyl quality is superior. Even so, most music listeners do not reliably listen to music on audiophile quality high-end equipment. Waveforms from vinyl represent recorded music more accurately than compressed digital formats and have the potential to produce better sound. Recently, vinyl music sales have experienced a substantial resurgence. Initially, one of the primary selling features of digital music was convenience and portability rather than sound quality. While vinyl, compact discs, and even eight-track tapes were traditionally promoted to consumers as producing superior sound, the introduction of compressed digital music, such as mp3s, was markedly different.
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