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Old 15th March 2010, 08:03 PM   #681
Key is offline Key  United States
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So what benchmark would you shoot for if not realism? I agree it's not the goal of most recordings but it should at least be an option.
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Old 15th March 2010, 08:13 PM   #682
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So what benchmark would you shoot for if not realism? I agree it's not the goal of most recordings but it should at least be an option.
I think we had that already. It's all about standardization. Think of it as a framework. Each framework would define physical and technical properties of listening rooms and loudspeakers. The problem is that we don't have the knowledge (yet) to relate physical properties of sound fields to human hearing in a meaningful way.

Last edited by markus76; 15th March 2010 at 08:33 PM.
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Old 15th March 2010, 08:13 PM   #683
el`Ol is offline el`Ol  Germany
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I love abstract art and I think for the most part my recordings are more surreal than real.
Examples?
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Old 15th March 2010, 08:28 PM   #684
graaf is offline graaf  Poland
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This is done by the Carlsson or the corner speaker with horn tweeter I suggested earlier in this thread.
not exactly, I think they are tilted too much for this

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The only advantage of the pure CFS I see is the tolerance of extremely poor recordings, also compared to conventional speakers.
well, yes, but in fact this is huge advantage, isn't it?

and add to this its inherent simplicity (almost everyone can DIY it) and You got an overall winner from a diyaudio perspective
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Last edited by graaf; 15th March 2010 at 08:31 PM.
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Old 15th March 2010, 08:33 PM   #685
Key is offline Key  United States
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Examples?
Other peoples recordings or mine? If you PM me I could maybe send some stuff but I'm not releasing my recordings or songs officially yet and I don't really want to show off anything else I have worked on that you could get.

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I think we had that already. It's all about standardization. Think of it as a framework. Each framework would define physical properties of listening rooms. The problem is that we don't have the knowledge (yet) to relate physical properties of sound fields to human hearing in a meaningful way.
I just think what needs to be done is a clear map of psychoacoustics of loudspeakers in a room. All of them I have seen aren't comprehensive enough. Recording and mixing techniques as well as monitoring techniques need to be more intuitive and effective. The mixer needs to see into the mix completely and I am afraid that is the largest problem with modern production - the monitoring is not giving them a complete picture of what is actually on the recording.
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Old 15th March 2010, 08:59 PM   #686
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I just think what needs to be done is a clear map of psychoacoustics of loudspeakers in a room. All of them I have seen aren't comprehensive enough. Recording and mixing techniques as well as monitoring techniques need to be more intuitive and effective. The mixer needs to see into the mix completely and I am afraid that is the largest problem with modern production - the monitoring is not giving them a complete picture of what is actually on the recording.
What kind of maps are you talking about? Have never seen one.

Being able to look in the mix and creating "the picture" are two separate things.

Then there's the problem that each engineer creates the picture with and within his very own reproduction setup. To make matters worse, add the average audiophool that exactly "knows" how that picture should look like afterwards. It's a mess.
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Old 15th March 2010, 09:25 PM   #687
Key is offline Key  United States
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I think you linked me to one on summing localization that I told you was incomplete.
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Old 15th March 2010, 09:26 PM   #688
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Old 15th March 2010, 09:29 PM   #689
Key is offline Key  United States
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Kind of busy atm and don't remember the article. But was mostly dealing with conventional stereo so it wasn't much use to me.

But I haven't seen very many explanations or simple instructions on how to control out of speaker localization with conventional stereo for an example.
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Old 15th March 2010, 09:36 PM   #690
el`Ol is offline el`Ol  Germany
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not exactly, I think they are tilted too much for this
My Carlssons are tilted 35 upwards and 45 inwards.
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