While I agree that we seem to have the basic science of reproduction of music down does that mean in science that we have made every discovery of all the factors in reproduction of a musical waveform? The only analogy that I can seem to make is that when we download a computer program we can in the end do a bit for bit comparison to the original and make sure that the information is an exact copy. But I don't know a way that this can be done in music reproduction? How can you know for sure that something on the smallest scale has not been changed, isn't this the holly grail of audio reproduction? Science is not a stagnant thing, we are forever learning new things that we did not know before or understand. Why isn't this the same in audio reproduction?
Such programs exists. i don't use them, but i've seen them.
They are accurate at a the sampling rate and bit level. They can compare the two tracks of a stereo recording, as well as synchronizing and levelling automatically two different samples. I don't remember the source...
I use an anolog system of mine, subtracting with a very fast OPA (to avoid Phase problems) the original program to the reproduced one in real time. It is not 100% subtracted, but you can multiply by 1000 the ratio distortion level/signal level, and listen to it.
Very helpful and affraying when you measure out of an power amp feeding real loudspeakers !!!!! Very easy to build one, worth a try.
Christophe,
Do you mind posting your comparison system on here? That does sound interesting, but at the same time it sounds like there is a distortion product that shows small changes in the original that you are comparing? That is what you a multiplying by 100 to do a differential analysis of?
Do you mind posting your comparison system on here? That does sound interesting, but at the same time it sounds like there is a distortion product that shows small changes in the original that you are comparing? That is what you a multiplying by 100 to do a differential analysis of?
It was inspired by the first first stage of my protection system, > 20 years old: [COLOR=#0000FF ]http://www.diyaudio.com/forums/solid-state/221737-ultimate-amp-protection-circuit-new-post.html[/COLOR]
Followed by a linear amplifier circuit amplifying the error content to can listen-to via headphones, or record-it, or look at it on a scope. On simple box with two volumes, one to equalize the levels, one to fine tune them.
SY, how do you look sooo young ? I imagined-you 40.
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Interesting guess..
jn
Very interesting, if I'm not mistaken, he is still one year and one week older than me. If he looks like he's 40, it must be the result of distortion.
Cheers
Stein
Very interesting, if I'm not mistaken, he is still one year and one week older than me. If he looks like he's 40, it must be the result of distortion.
Cheers
Stein
Still??
You mean, there are options???
jn
Looking in my mirror, i see somebody i don't recognize. I believe my mirror is too old and need to be replaced.
You are right: Turning-it to present the back side: everything looks betterChristophe,
Perhaps the mirror is out of phase.
As regards recording a drum kit, this is highly instructive: - Less Is More - Minimal Drum Miking : Recording Magazine -. Note particularly the sequence leading to the last paragraph ...
Plus, some time ago was reading about the efforts of a chap who records musical groups in a natural acoustic space, and releases the results, with a single microphone pair. Yes, a pure stereo pair, on a group with vocalist, electric guitars and drums. How is it done? By using placement and distancing of the musicians from the mic's techniques. And it is very effective by all accounts, a very natural perspective is heard. Unfortunately, can't track down the website at the moment, will mention it if I find it yonder ...
Frank
Again, this is not the way it is. A "bad" recording sounds obnoxious IF the reproduction system compounds the problem by injecting yet further distortion into the mix. The type of distortion added in playback is of a very different kind from that in the recording, and the listener's poor brain overloads trying to sort it out -- a fast road to hearing fatigue.
So, the idea is not to make the recording better; it is, to not make it any worse than it already is, and that's the hard bit. Most systems are far from clean, and that just makes the chances of enjoying a difficult recording that much less. It only takes one experience of hearing a supposed poor recording completely come to life to realise that so much poppycock is said of such things ..
Frank
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