The Advantages of Floor Coupled Up-Firing Speakers - Page 70 - diyAudio
Go Back   Home > Forums > Loudspeakers > Multi-Way

Multi-Way Conventional loudspeakers with crossovers

Please consider donating to help us continue to serve you.

Ads on/off / Custom Title / More PMs / More album space / Advanced printing & mass image saving
Reply
 
Thread Tools Search this Thread
Old 15th March 2010, 10:22 PM   #691
Banned
 
Join Date: May 2008
Location: Switzerland
Quote:
Originally Posted by Key View Post
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.
What are you talking about???
  Reply With Quote
Old 15th March 2010, 11:01 PM   #692
Key is offline Key  United States
diyAudio Member
 
Join Date: Jan 2009
I remember now it wasn't you. It just seemed like something that you would link me to. It was an old study on summing localization. They used a dummy head and tested out various scenarios to try and map out phantom imagery with stereophonic sound. I could prove very easily with a demo that the study is incomplete and doesn't cover all of the possible phantom images with conventional stereo let alone a system like what I use.
  Reply With Quote
Old 15th March 2010, 11:25 PM   #693
Banned
 
Join Date: May 2008
Location: Switzerland
I still don't understand what that has to do with standardization. We're obviously using a different vocabulary and have a different level of understanding on the topic at hand. You finally might want to read some literature to prepare for further discussion. Here's a list of localization attributes commonly found in literature taken from Witteks PhD thesis (already linked several times):

Localisation
General mapping law between the location of an auditory event
and a certain attribute of the sound source. (Definition according
to Blauert, 1997)
Mechanism/Process that maps the location of an externalised
auditory event to certain characteristics of one or more sound
events. (Definition according to Theile, 1980)

Direction
The direction in which the source is perceived

Distance
Perceived range between listener and reproduced source
(Definition according to Rumsey’s (2002) ‘individual source
distance’)

Depth
Sense of perspective in the reproduced scene as a whole
(Definition according to Rumsey’s (2002) ‘environment depth’)

Stability
The degree to which the perceived location of a source changes
with time.

Robustness
The degree to which the perceived location of a source changes
with movement of the listener.

Accuracy
The degree to which the intended and the actually perceived
source agree with each other. This ‘agreement’, unless defined
differently, involves all attributes of the source. Often, the term
accuracy is used only for the ‘directional accuracy’, which
means the agreement concerning the source direction. The relevant
measure for this attribute is the ‘directional error’ of a
source/system.

Resolution
The achievable precision of the synthesised sound field in terms
of direction and/or distance.

Individual source width ISW, Apparent source width ASW
Perceived width of the source
(Definition according to Rumsey, 2002).

(Image) focus
The degree to which the energy of the perceived source is focussed
in one point.

Definition of the image
Similar to image focus


Diffuseness
Inverse of image focus

Blur
Inverse of image focus

Locatedness
Spatial distinction of a source.
(Definition according to Blauert, 1997)
The degree to which an auditory event can be said to be clearly
perceived in a particular location.

Certainty of source localisation
Similar to ‘locatedness’, used by Lund (2000)

Localisation quality, Localisation performance
These terms describe a mix of attributes. They describe the
overall performance of localisation. They should be defined
individually, because they can have ambiguous meanings
(‘quality’ of the directional accuracy, sound colour, focus, locatedness
or an ‘average’ quality?).

Externalisation
The degree to which the auditory event is outside the head

Spaciousness
Often used in the same meaning as ‘apparent source width’
ASW, but also used to describe the perceived size of the environment.

Presence
Sense of being inside an (enclosed) space or scene.
(Definition according to Rumsey, 2002).
Often also used as an attribute of sound colour.
  Reply With Quote
Old 15th March 2010, 11:30 PM   #694
Key is offline Key  United States
diyAudio Member
 
Join Date: Jan 2009
Quote:
Originally Posted by markus76 View Post
We're obviously using a different vocabulary and have a different level of understanding on the topic at hand.
Obviously.
  Reply With Quote
Old 16th March 2010, 01:10 AM   #695
Key is offline Key  United States
diyAudio Member
 
Join Date: Jan 2009
Since you seem to know much more than me Markus maybe you can explain the difference between these two examples. The differences in localization you experience and what is the cause of the differences. Bonus points if you can tell me which is projecting a more accurate illusion of a real space.

Lossless A and B
zSHARE - A.flac
zSHARE - B.flac

Lossy A and B
zSHARE - A.ogg
zSHARE - B.ogg
  Reply With Quote
Old 16th March 2010, 05:05 AM   #696
Pano is offline Pano  United States
diyAudio Moderator
 
Pano's Avatar
 
Join Date: Oct 2004
Location: Milliways
Blog Entries: 4
back on topic, please.

OT posts deleted.
  Reply With Quote
Old 16th March 2010, 06:30 AM   #697
el`Ol is offline el`Ol  Germany
diyAudio Member
 
Join Date: May 2005
Location: Bavarian Forest
Quote:
Originally Posted by Key View Post
...let alone a system like what I use.
What system?
  Reply With Quote
Old 16th March 2010, 07:11 AM   #698
graaf is offline graaf  Poland
diyAudio Member
 
graaf's Avatar
 
Join Date: Jun 2007
Quote:
Originally Posted by markus76 View Post

Stability
The degree to which the perceived location of a source changes with time.

Robustness
The degree to which the perceived location of a source changes with movement of the listener.
ceiling flooder excels in stability and robustness, exactly where (in comparison) conventional stereo setup fails miserably - head-in-a-vice is a must

Quote:
Originally Posted by markus76 View Post
(Image) focus
The degree to which the energy of the perceived source is focussed in one point.
well, in that specific sense I would even say the less focus the more realistic spatial quality

because there is no such sound source in reality, no musical instrument, in case of which energy is focussed in one point

real sound sources are sound spots of determinate sizes, some of them quite big

best,
graaf
__________________
"high phooey and hystereo" - Yascha Heifetz
  Reply With Quote
Old 16th March 2010, 07:42 AM   #699
graaf is offline graaf  Poland
diyAudio Member
 
graaf's Avatar
 
Join Date: Jun 2007
Quote:
Originally Posted by Key View Post
let alone a system like what I use.
Quote:
Originally Posted by el`Ol View Post
What system?
I am also curious
__________________
"high phooey and hystereo" - Yascha Heifetz
  Reply With Quote
Old 16th March 2010, 08:52 AM   #700
graaf is offline graaf  Poland
diyAudio Member
 
graaf's Avatar
 
Join Date: Jun 2007
Quote:
Originally Posted by el`Ol View Post
My Carlssons are tilted 35 upwards and 45 inwards.
points for Mr Carlsson
35 upwards is well suited for seated listener at the typical distance from the speaker of ca 3 m, and 45 inwards is perfect for classic Blumlein isosceles stereo triangle: 45-45-90 (unlike typical audiophile equilateral triangle)
__________________
"high phooey and hystereo" - Yascha Heifetz

Last edited by graaf; 16th March 2010 at 08:56 AM.
  Reply With Quote

Reply


Hide this!Advertise here!
Thread Tools Search this Thread
Search this Thread:

Advanced Search

Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

BB code is On
Smilies are On
[IMG] code is On
HTML code is Off
Trackbacks are Off
Pingbacks are Off
Refbacks are Off


Similar Threads
Thread Thread Starter Forum Replies Last Post
Using a diffuser cone for up-firing speakers tspringer99 Multi-Way 19 23rd July 2014 02:04 AM
Floor Standing Speakers. gurpreetsingh Full Range 11 12th June 2012 06:42 AM
side/ rear firing speakers Good/Bad? mcmahon48 Multi-Way 1 6th February 2009 12:28 PM
How far can the driver of a down-firing sub be from the floor? The Paulinator Subwoofers 11 16th May 2007 08:10 PM
Woofer: side firing pair vs front firing? tcpip Multi-Way 13 9th September 2005 02:13 PM


New To Site? Need Help?

All times are GMT. The time now is 11:07 AM.


vBulletin Optimisation provided by vB Optimise (Pro) - vBulletin Mods & Addons Copyright © 2014 DragonByte Technologies Ltd.
Copyright 1999-2014 diyAudio

Content Relevant URLs by vBSEO 3.3.2