Noise RMS( 0-100Khz)/V = 118dB
Already answered about this. Easy to measure, and correct at the source if any problem. But i'm sure real audiophiles will find differences everywhere they *want* to find some.
And provide excellent reviews in magazines about comparative qualities of different expensive cones. (Gold is better)
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In your dreams ...
. Sorry, I've been driven mad trying to track down the cause of sound change and degradation issues. If it were all so "easy" everyone would be enjoying brilliant sound each and every time they turned on their gear ... Still a-ways to go ...
Frank
All the *brilliant* records you listen-to are made in recording studios build by people who are not interested at all by this kind of fairy tails. Hundreds of electronic devices fixed in racks with screws. And we listen at high levels.
But you are free to chase phantoms and mysteries, if it brings-you some pleasure. Reading you, i will finish to believe your system has a LOT of problems
All the *brilliant* records you listen-to are made in recording studios build by people who are not interested at all by this kind of fairy tails. Hundreds of electronic devices fixed in racks with screws. And we listen at high levels.
But you are free to chase phantoms and mysteries, if it brings-you some pleasure. Reading you, i will finish to believe your system has a LOT of problems
Oh not another version of "the mixing desk is full of 5534's so you are a fool to use anything better in your home equipment" argument seen to such monotonous regularity on audio forums I hope? One can only wonder if the "brilliant" recordings could be made even better.
Robert, the NE55<xx OPAs are not so bad in the slides of a mixing desk. You have to understand we MAKE the sound of each instruments, whatever the sound they have in the mic line. Where i worry about OPAs, is in the mixing part of desks, where all instruments are mixed together. IM is the concern here. I used current feedback OPAs each time i could, after tried a lot of various OPAs. Don't believe we don't know what we are doing. But we work for *real* and *effective* with no time to loose.
Funny, at rare exceptions (Guess who ?) when we begin to talk electronic, audio design, calculations, methods and measurements etc... audiophiles, suddently, have some urgent appointment else where..
Funny, at rare exceptions (Guess who ?) when we begin to talk electronic, audio design, calculations, methods and measurements etc... audiophiles, suddently, have some urgent appointment else where..
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Everything's relative, Christophe,All the *brilliant* records you listen-to are made in recording studios build by people who are not interested at all by this kind of fairy tails. Hundreds of electronic devices fixed in racks with screws. And we listen at high levels.
But you are free to chase phantoms and mysteries, if it brings-you some pleasure. Reading you, i will finish to believe your system has a LOT of problems
. I've been doing this sort of tweaking for a looong time now, so I've sorta worked out when I hear a problem whether it's due to problems in the recording, or my equipment ... . Like, hearing a tiny 'bzzz' at the beginning of the track because someone didn't kill a switching transient; or, a strange phasing effect in the background of a jazz track, when the tape deck must been out of alignment or something. But I'm not worried about these "defects", they stay subjectively in the background of the playback ...What's concerning is when the quality changes from day to day, for a particular track. I'm well past the "you've must have been in the wrong mood" nonsense, and I'm a perfectionist by nature, so that says there's an issue that I need to sort out.
I also like to listen at high levels, and this quite often brings the problems to the fore. Again, my interest is essentially in understanding what's going on, what's needed to guarantee good sound every time, and so my system is somewhat fragile - a polite way of saying a bit of a mess - and it doesn't take much to knock it off its perch. Something I live with at the moment, a work in progress, I'm happy with it being that way if it gives me answers.
So, think of me like a mechanic who's got a car that makes a faint, "wrong" noise at times, and then scratches his head trying to work out where the subtle rattle is coming from. Just having a "perfect" Rolls Royce, or Mercedes at all times I 'll leave to others to enjoy ...
Frank
Fas42,
I'll take your word for fragile to mean somewhat unstable in use. If I had to tweak my sound system on a daily basis I think I would be greatly perturbed. Something is beyond problematic when you tell us these stories. I would say there is some poor engineering going on here and I wouldn't think I would want you to work on my car! If you have been doing this for as many years as you say you have why have you not solved these issues?
I'll take your word for fragile to mean somewhat unstable in use. If I had to tweak my sound system on a daily basis I think I would be greatly perturbed. Something is beyond problematic when you tell us these stories. I would say there is some poor engineering going on here and I wouldn't think I would want you to work on my car! If you have been doing this for as many years as you say you have why have you not solved these issues?
A good point, worth repeating. Even loops vibrating and oriented appropriately will generate EMF just with the Earth's field.
Just an electric guitar ?
Just an organ with leslie, or any phase/flandge effect for an instrument, including the previous guitar ?
Do-you really thing a light can introduce an electronic BZZZ in a correct recording studio without we immedialty stop the session and look where is the faulty cable ? If you can hear-it, can-you imagine the sound engeneer had not eared-it, when all tracks had been listened in solo, several time at high levels ?
How a tape recorder in a studio CAN be out of alignment, when we tune the equalizations and polarizations of each magnetic track each morning and before each mix ? Have-you seen how are solid are Ampex ATR100 or STUDER mixing machines ?
We don't care about supposed vibrations effects in electronic devices, but we care they work properly.
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Engineers have a penchant for calling something that they haven't studied in an approved course, that still impact the particular scenario, phrases like "fairy dust". If the "professor" ain't mentioned it, it ain't there ...Christophe,
I do believe that there must be something in the water down under...... Some just want to chase fairy dust, it seems to occupy their time. Just don't look in their eyes and perhaps they will just walk away.
The audio scene is the mess it is because very few people seem to stand back and look at the "big picture", which is how to guarantee getting good sound every time. Everyone disagrees with everyone else on how this is done, but is certain that their way, their take on the matter is essential to making it happen. Well, my way is that everything is important, and the one thing that you ignore, neglect, consider unimportant, will pull the rug out from under your feet. It's interesting that such an approach would be considered "fairy dust" ...
Frank
My understanding (third-hand) is that his stuffing around the central 25mohm resistor (or whatever) uses carbon nanotubes. Getting from there to an acknowledged physical effect is rather a leap, though I'd be delighted if it can be made.
Now, can-you bring us measurements of distortions or noises induced by such an effect in an all symmetrical system with good cables at a <120db spl listening level ? (i do not include transports, of course)
-180db ?
Don't we have hundred of things to improve before beginning to look at this ?
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Christophe,
I think if some of the audio public here saw a patch bay they would take a dump. You and I know that there are many ways for things to go wrong but as you say that is for an engineer to hear and correct. A buzz or hum in the recording chain that isn't on the artists side of the equation is going to be quickly highlighted in the playback. You and I are not talking about a home studio, we are use to professional sound equipment. How many thousands of connections in a mixing console and all the outboard equipment are immune to this problem of sonic excitation?
I think if some of the audio public here saw a patch bay they would take a dump. You and I know that there are many ways for things to go wrong but as you say that is for an engineer to hear and correct. A buzz or hum in the recording chain that isn't on the artists side of the equation is going to be quickly highlighted in the playback. You and I are not talking about a home studio, we are use to professional sound equipment. How many thousands of connections in a mixing console and all the outboard equipment are immune to this problem of sonic excitation?
No, chamber music. This would be easily 60 or more db down, for the start of each track. Somewhere in mastering, something that was switched from off to on, or perhaps vice versa, was captured in the final mix, and it's there, a tiny electrical noise, like hearing a light switch interference transient come through a normal hifi.
This is 50's style jazz, studio take, and it's way in the background; like the old style short wave radio transmission noise frequency slowly shifting back and forwards.
I appreciate that the engineers listen at high levels, but do they listen on gear with sufficient clarity, "accuracy"? My recent exercise in listening to name brand, active studio monitors gave me little confidence in at least that part of their toolkit ...
Frank
Yes and bad contacts are frequent and there is not a day where you do not clean, furious, a patch cord !
I had made a lot of mistakes in my professional life, for sure, but one thing i'm sure of, i had NEVER let on a track something that i had not decided to let for some reason, and never discovered in a record i had made some unknown sound or parasite, after the mix.
"but do they listen on gear with sufficient clarity, "accuracy"?
Kindhornman, can you explain what is a big studio, acoutic treatment, silence of the room, big monitors, et how many time each tracks are listened, corrected etc ? When you listen to the hiss of an analog track louder than your shower, do you believe, fas42, that a BZZZ can be hidden ?
Now, talking about a buzzz on a chamber music recording. Live recording ? Some acoustic noise from the lighting ? Anyway, we always edit and cut the tapes right at the first note attack, i do not see how you can listen something 'before'. A non professional recording ?
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Christophe,
I do believe that there must be something in the water down under...... Some just want to chase fairy dust, it seems to occupy their time. Just don't look in their eyes and perhaps they will just walk away.
Who would that leave for you to belittle, with your air of superiority, broad brush statements and cheap shots?
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