Tom Danley's website has four recordings. He mentions that the fireworks recording was made with a mic "invention" he is developing. The content is fabulous and my thanks to Tom.
four .wav download files
I've been "looking" (and posting) at several recordings recently on my Mac MacCRO spectrum analyzer. Here're comments on the wonderful and realistic Danley recordings.
1. Fireworks half a mile away. Some bit of low content, but big booms are 30-45 Hz. If that is where your system is strong, you'll be experiencing bone-shaking, chest pounding transients.
2. Train starting. Some content below 20 near start, bulk 15-50 ("engine oil range") but most of strength 25-35.
3. Coal train. Diesel engine has sharp peaks at 25 and 45.
4. Harley bike. Not much happening below 80-90. These may be stock mufflers, not as obnoxious as some aftermarket pipes (I've been a BMW biker for the last 44 riding seasons).
It is easy with organ or any other music, to think you are hearing earth-shaking subsonic bass when, in fact, the content is really well above or even like the Harley, as high as 80-990 Hz. With the excellent Danley recordings, you can get a really satisfying impression (indeed, misimpression) of super low bass (rail cars thumping about) when played on a system that is strong down to say, 38 Hz, but not much below. And I am am not talking about mistaking 3rd harmonic distortion for 20 Hz fundamentals.
One conclusion is that there are many who still believe the quality of a system depends on being 20-to-20k and feel unfulfilled till they think they got there... they think they can hear it or otherwise know it when they got there.
Footnote. Some of the stereo is as much fun as my 1960's Audio Fidelity recording of trains. While I have no basis for direct comparison, my 110 Hz mixed bass signal going to one part of my music room doesn't seem to impair the localization of these bassy objects as they move across the front virtual stage.
four .wav download files
I've been "looking" (and posting) at several recordings recently on my Mac MacCRO spectrum analyzer. Here're comments on the wonderful and realistic Danley recordings.
1. Fireworks half a mile away. Some bit of low content, but big booms are 30-45 Hz. If that is where your system is strong, you'll be experiencing bone-shaking, chest pounding transients.
2. Train starting. Some content below 20 near start, bulk 15-50 ("engine oil range") but most of strength 25-35.
3. Coal train. Diesel engine has sharp peaks at 25 and 45.
4. Harley bike. Not much happening below 80-90. These may be stock mufflers, not as obnoxious as some aftermarket pipes (I've been a BMW biker for the last 44 riding seasons).
It is easy with organ or any other music, to think you are hearing earth-shaking subsonic bass when, in fact, the content is really well above or even like the Harley, as high as 80-990 Hz. With the excellent Danley recordings, you can get a really satisfying impression (indeed, misimpression) of super low bass (rail cars thumping about) when played on a system that is strong down to say, 38 Hz, but not much below. And I am am not talking about mistaking 3rd harmonic distortion for 20 Hz fundamentals.
One conclusion is that there are many who still believe the quality of a system depends on being 20-to-20k and feel unfulfilled till they think they got there... they think they can hear it or otherwise know it when they got there.
Footnote. Some of the stereo is as much fun as my 1960's Audio Fidelity recording of trains. While I have no basis for direct comparison, my 110 Hz mixed bass signal going to one part of my music room doesn't seem to impair the localization of these bassy objects as they move across the front virtual stage.
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Good post !!!
I downloaded these four files plus the Nagle version of Bach's Toccata in D minor. Since my big horn can't handle large doses of this material, I had to make a version better suited to the capabilities of my speaker.
Using GoldWave, I saved the file as a "mono" file, then saved it as a "stereo" file. Then, I chose to use the left channel as the subwoofer channel and the right channel as everything else. I HP'd the left at 30, LP'd the left at 120, and HP'd the right at 120. After adjusting the volume, I was ready to test.
I went to the hall to set-up a little earlier than usual, and pushed 100 watts per channel of train sounds thru the speakers ... WOW!!! It didn't sound like the train was going past the outside of the building, it sounded like the train was going THRU the building.
I downloaded these four files plus the Nagle version of Bach's Toccata in D minor. Since my big horn can't handle large doses of this material, I had to make a version better suited to the capabilities of my speaker.
Using GoldWave, I saved the file as a "mono" file, then saved it as a "stereo" file. Then, I chose to use the left channel as the subwoofer channel and the right channel as everything else. I HP'd the left at 30, LP'd the left at 120, and HP'd the right at 120. After adjusting the volume, I was ready to test.
I went to the hall to set-up a little earlier than usual, and pushed 100 watts per channel of train sounds thru the speakers ... WOW!!! It didn't sound like the train was going past the outside of the building, it sounded like the train was going THRU the building.
Too bad the firework recording is still the inverted/clipping version.
In the DTS-10 thread over at AVS this was pointed out and Danley promised to fix it.
Danley DTS-10 "Super Spud" DIY kit - Page 21 - AVS Forum
In the DTS-10 thread over at AVS this was pointed out and Danley promised to fix it.
Danley DTS-10 "Super Spud" DIY kit - Page 21 - AVS Forum
The recording seems pretty soft relative to volume control settings for music. But I couldn't say what the dots-and-dashes are up to. There is only one digit-busting peak, near the end, that seems to push the limits. Hard for my ears to know if the "sound" at that spot is unrealistic since it feels, sounds, and shakes objects in my room in realistic ways. I'll listen more closely at normal hearing levels to that thump to check it out.
I can vaguely see how one might argue that inversion of the explosions sounds getting to my ears just might make a difference for the perception of an explosion at say 5 Hz (200 foot wave). Of course, that's unlike the opinion generally held apropos music, even when people can detect an ABX Test difference.
But ultimately, there's no convention or control (or needs to be) as to what gets to your left or right ear for a home music system. As to conventions for pulses leaving the drivers, there might be conventions and they might be honored in movie theaters, but unlikely any too often honored in homes.
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.... and here's the real electric RTA picture. Fireworks, train starting, coal train, and neighbour's Harley.
Each picture shows the noise level of the system and the DUT. Sorry about being the same colour! But there is also some ambient "noise" (like from wind, mic movement, and trucks driving by) that is in the "signal". Quite a bit of content below 20 Hz although best sustained only in the train-starting clip.
While few recordings have much content below say, 32 Hz, organ recordings included, sure is nice to hear/feel it when there are very low notes. Based on some recent listening with my 17 foot pipe (see recent thread), I'd say there are audible/felt benefits right down to an F3 of maybe 16 Hz... for those serious about bass. (On the other hand, playing bass that low can make the commonly cooked pop recordings with a double-bass pretty atrocious.)
B.
Each picture shows the noise level of the system and the DUT. Sorry about being the same colour! But there is also some ambient "noise" (like from wind, mic movement, and trucks driving by) that is in the "signal". Quite a bit of content below 20 Hz although best sustained only in the train-starting clip.
While few recordings have much content below say, 32 Hz, organ recordings included, sure is nice to hear/feel it when there are very low notes. Based on some recent listening with my 17 foot pipe (see recent thread), I'd say there are audible/felt benefits right down to an F3 of maybe 16 Hz... for those serious about bass. (On the other hand, playing bass that low can make the commonly cooked pop recordings with a double-bass pretty atrocious.)
B.
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WOW. Great transients!!!
Burgio 2018 is better SQ than Tom Danley's Wisconsin (?) backyard although similar in kind. Fun to see the explosions and then to hear them. The super low sounds that appear on the RTA do correspond to the fireworks instances.
The RTA is for the full 8 minutes although a sample of just the first 2 minutes measures about the same.
Who knew YouTube delivered 2 Hz vibrations? Or is it an artifact of my system?
BTW, this RTA is done with USB input to a Sound Blaster DAC and USB output. So digital start to finish. (Some earlier RTAs might have been "headphone" sourced to a DAC, although that's as good as you can measure anyway on a MacBook Air. Anybody know how to do an REW RTA without using an external DAC loop?)
Thanks.
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Here is another one with great sound (and visuals).
The loudest sounds I have ever heard in my live was in Valencia Spain during Las Fallas in March of every year. The noise makers are called Mascleta's, Has to be witnessed (or rather felt) in real life (been there 4 times the last couple of years)
The loudest sounds I have ever heard in my live was in Valencia Spain during Las Fallas in March of every year. The noise makers are called Mascleta's, Has to be witnessed (or rather felt) in real life (been there 4 times the last couple of years)
slightly OT - if one can locate good recordings of "The Large Hot Pipe Organ" - - those are lots of fun - - one YouTube video I think contains one "song" (there were two mp3 once online and also a mini -CD) - if you've ever lit a gas stove a bit late then - there's that sound 
An externally hosted image should be here but it was not working when we last tested it.
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