I'm saving money to can buy a Townshend super tweeter
Specification:-
Freq. response: 20Khz to 70kHz (-3db) 12kHz to 90kHz(-6dB)
Sensitivity Adjustable to suit speakers with sensitivity from 80dB to 110dB.
Impedance 6R, 20Khz. 30R, 100kHz.
Power rating. 350W+. Music (heavy rock)
Dimensions. 50mm (W), 30mm (H), 100mm (D).
Case. Stainless Steel Mirror
...and here are (self-censored) who claim to be annoyed by the 7th or 9th
harmonic at > -120 dB.
120 dB is the attenuation of a radio signal from here to the moon, to put
it in perspective. Or a jet engine at 30m distance to hearing threshold.
I don't recall anyone saying that they were annoyed by the 7th harmonic at -120db.
Can you give the reference link?
I do recall 7th harmonic being used as a guideline for measurement of quality.
harmonic at > -120 dB.
120 dB is the attenuation of a radio signal from here to the moon, to put
it in perspective. Or a jet engine at 30m distance to hearing threshold.
I don't recall anyone saying that they were annoyed by the 7th harmonic at -120db.
Can you give the reference link?
I do recall 7th harmonic being used as a guideline for measurement of quality.
So do you put that brick wall filter before the TownShend tweeter to remove the upper frequencies so you don't have to hear that objectionable high frequency response?! Just goes to show you how opposing the theories are and what can be done. But I would sure like to know where the 24Khz and above material is supposed to be sourced from? Seems we have a quandary here, those who want upper end extension and those who profess that anything over 16Khz is just noise..... I'll stick with my thoughts that the experimenters have used devices that were just incapable of producing the upper frequencies without unwanted resonant breakup noise and distortion.
15 year member of APS, and ran research programs in haptics and organoleptics for 20 years, if that counts.
I've had some superb American engineers go through my groups. So you won't hear that from me. Where's the Papuan Bob Widlar?
They're not. I've never done physiology (well there was a year in a lab at Johns Hopkins, but that was a long time ago and I was just a dumb technician). I never cut anyone's tongue out or their nose off for physical study, though I was tempted from time to time; our subjects just had to sniff and taste things to generate data similar to that shown in the linked article.
Don't you know the most important property of the content beyond 20kHz is to enhance the bass. Jeesh!
This is why the arbiters of acoustics, Dr. Dre and Jimmy Iovine, insist that we're just not hearing all the music (until they in their wisdom decided to do something about it).Don't you know the most important property of the content beyond 20kHz is to enhance the bass. Jeesh!
All countries consider their system inferior. Grass is always greener elsewhere. In France, we think that our best scientists emigrate to the US
About my super tweeter's joke, i noticed in reviews that they all remark an improvement in basses. It is the same thing i remarked, when i changed an amp from voltage to current feedback with improved slewrate.Don't you know the most important property of the content beyond 20kHz is to enhance the bass. Jeesh!
As it it not supposed to be so, in common audiophile believes, i suppose that it is something really experienced. May-be it is amelioration of the acoustic slew rate during transients ?
If i had enough money, i would like to try, just to be sure that it is pure bul*sh*t.
May-be it is an acoustic phase question, as well, or a group delay one ? it would be interesting to explore.
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Since we are so ot here let me ask a question. Can somebody explain to me in plain English how dither, adding noise to a signal lowers the noise floor when reducing the bit rate? I have read some of the information that George has presented and am having a time of understanding the principal here. A serious question as it seems so important to using some of the digital volume controls and other things in the digital world.
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