The chokes you refer to are a custom model. It was originally manufactured by a French company, but has in the meanwhile been sold off, design and manufacturing, to a Czech company. I have to order them from the factory, not really a problem because I rarely have dealings with such a kind lot as the Czechs, these people really go out of their way for you even if I am a small customer. However, these chokes are purpose-built for my power line filters and are not used in my loudspeakers.
I needed some music with very low dynamic range for my presentation I did years ago for Burning Amp on 'loudness wars'. The absolute best (worst) I could find was AC/DC A whole lot of Rosie.
Horribly mastered, absolutely no dynamics to speak off, and probably clipping 90% of the time.
Instructive in a twisted sort of way.
Jan
I thought Max's dongles fix all that, post facto pataphysically speaking.
Sorry Scott, I just progressed to 3-syllabic words yesterday
Jan
Well in a pataphysical world jitter, for instance, becomes information. After all suppose the data on your SD card is just large packets of charge on some MOS gate. Well then if the number of charges is different for each bit can't jitter get remembered too?
Regardless, I saw them live in (I think it was) 1976.
At the time I was on the stage - to the side.
Seriously INTENSE performance. Notable. As in, WTF are these guys doing!!
They're the only band I recall from that tour that stood out and left an imprint.
Don't own any CDs of theirs, but quite a performance on that stage. fwiw.
Looked into it. It's the Dante protcol where I've seen the virtual soundcards. CobraNet doesn't do it.
You can get CobraNet sound cards, if you really want. Probably not with the price for you, tho.I do wish there was consumer audio profile like Dante. You can easily run 16 channels out of a virtual soundcard to devices on the network. With a networked DAC or amplifier with DSP this would be the way to go. Go all digital across the house up to the DAC or DSP. Runs over ordinary Ethernet cables and switches.
Dirac s delta distribution being the derivative of Heaviside s step distribution the impulse response is just the derivative of the step response, that is, its slope, and can be estimated from this graph...
Edit : to get the impulse response all you have to do is to derivate this signal, in other words passing it through a high pass filter made of a C and a R....
With such "signals" it s useless to talk linearity, actually a bad pair of speakers could even improve the thing while very good ones could sound awfull...
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Every genre has it's Mozart, within what they do, AC/DC are amongst the greatest. Not quite Bach, though.
Jitter gets remembered all the time. Every time something passes through an A/D and gets saved to a file, for example.
Some may scoff, some may disagree, but as far as Bach, that being variations upon a theme done in realtime (which is what Bach did - the stuff we hear today is just the "theme" transcribed) in modern times (notwithstanding jazz type improvisation) for me is Jerry Garcia.
Phil Lesh said in his book, that he came across Jerry who was at the time giving music lessons in Palo Alto, and went to the house where he and I forget who lived, and he said that Jerry walked around the house all day playing... and he never repeated himself.
Phil Lesh said in his book, that he came across Jerry who was at the time giving music lessons in Palo Alto, and went to the house where he and I forget who lived, and he said that Jerry walked around the house all day playing... and he never repeated himself.
Anyhow...
...this is a thought that is somewhat OT, but relevant to the general thrust of the present discussion, I think.
The effect of cascading two random filters that are similar in type & bandwidth, but not identical (two identical cascaded filters is not
usually the desired effect, but here the chances of identical ones is low) is a filter that probably you would not want to design deliberately. Things like ripple, overshoot, phase shift and the like happen.
Has anyone looked at the effect of the virtual cascade between the A/D digital domain filter and then the D/A digital domain filter?
I'm thinking especially of the leading/trailing edge overshoot and the passband ripple seen with the square wave approximation created with the digital methods.
Is this a (one of many) possible cause for the reported and apparent variation in results on playback??
_-_-
...this is a thought that is somewhat OT, but relevant to the general thrust of the present discussion, I think.
The effect of cascading two random filters that are similar in type & bandwidth, but not identical (two identical cascaded filters is not
usually the desired effect, but here the chances of identical ones is low) is a filter that probably you would not want to design deliberately. Things like ripple, overshoot, phase shift and the like happen.
Has anyone looked at the effect of the virtual cascade between the A/D digital domain filter and then the D/A digital domain filter?
I'm thinking especially of the leading/trailing edge overshoot and the passband ripple seen with the square wave approximation created with the digital methods.
Is this a (one of many) possible cause for the reported and apparent variation in results on playback??
_-_-
Well, my daughter would buy that, but it doesn't work for me -- unless you are saying "AC/DC are amongst the greatest AC/DC".....
Mind you, I'd add that I hate "genre" -- pigeonholing of the worst kind....
Bach... A excellent muso I know always observes that if Bach were around today, he'd be all over synths and digital audio tech like a rash...
The one you get when you try to playback a "squarewave"?? That one?
You've seen the graphs?
You can look here too: http://www.diyaudio.com/forums/digital-line-level/269776-filter-brewing-soekris-r2r-27.html#post4740660
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