Any way to convert these into stereo to give one an idea of the "sound" -Ambisonic Info | Contributed Audio Here's a concise summary of some of my favourite recordings on Ambisonia. Some of these played on an 8 speaker Periphonic (with height) system, or even with a simple 4 speaker horizontal system give some idea of what I think a perfect speaker [1] should do.
The recordings were made with the closest approach to a perfect mike [2] in this and the previous millenium.
Sorry Frank, I think you definitely need the 1000W amp to do Concorde justice in stereo.
[1] still unknown
[2] known
. Saying that, I have a couple of Nimbus classical CDs which have, in tiny print, an acknowledgement that Ambisonics was used in the recording; so, obviously they can be "translated" into stereo. And, there is no doubt that a considerable acoustic is created in this fashion; on one a pianist is playing from somewhere near a quarter of a mile away, - impressive, but not quite "natural" ...As regards the Concorde, you might need to give Basspig a call: www.Basspig.com The Bass Pig's Lair, a man for whom 135dB is just barely loud enough ...
Frank
My favourite method is VVMic for TetraMic | vvaudio.com You can simulate any arrangement of stereo microphones at that spot.
Try crossed fig-8s for stereo speakers. Back to back (slightly) hyper cardioids maybe just a bit forward for headphones. But have a play.
I've also heard good reports of Harpex. Their demo is pretty flash.
Nimbus UHJ recordings are 'matrix' surround and really need to be decoded to surround to appreciate. If you have a surround system, there are DTS versions of their recordings; as there are DTS versions of the ambisonia stuff.
If you monitor in surround, you tend to choose a more distant perspective so it appears too distant when matrixed and played in stereo.
I have reservations of some of the Nimbus stuff too but that's more to do with their usual recording venue .. the pianist isn't quite 1/4 mi away but close
Which of their recordings have you got?
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Two on hand:I have reservations of some of the Nimbus stuff too but that's more to do with their usual recording venue .. the pianist isn't quite 1/4 mi away but close
Which of their recordings have you got?
The Art of Youra Guller
Franck, Faure - The Medici String Quartet
The latter is a "killer" for testing system replay of string tone, recorded at Wyastone Leys. Has a "distant" acoustic where you need binoculars ...
Frank
And even on directive systems. By example, my enclosures have a near flat response. Flat, but slowly decreasing of 2-3 dB from bass to treble over the all range.
About trying to get fidelity with a flat mike, flat recording, flat enclosure gives non realistic recordings. The most realistic ones are proceeded with lot of torture by engineers, for the best "make believe". Hifi is just a joke.
I had a dream, everybody own the same decent* enclosures and all the records are mixed with them.
[edit] * smiley here.
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Likes and ...
Thats an interesting choice... for myself, if the bass is recorded and it goes down below a small speakers ability, I dont want that small speaker. Many like limited treble, too. Or, even peaked response. I want the one that reproduces, cleanly, what has been recorded and produced by the musicians. The LIKE approach goes nowhere but in circles and explains little.
Thats an interesting choice... for myself, if the bass is recorded and it goes down below a small speakers ability, I dont want that small speaker. Many like limited treble, too. Or, even peaked response. I want the one that reproduces, cleanly, what has been recorded and produced by the musicians. The LIKE approach goes nowhere but in circles and explains little.
The example being discussed was 4 watts of acoustic power travelling through 1 square inch of air. The spl, from Tom, was 158.
That is certainly not what I would consider a "practical audio case".
As I cautioned, the ideal gas equations can only be applied exactly if the mass remains constant. For a high power propagating wavefront, you can use the ideal gas equation but will not be able to accurately calculate the temperature rise.
While 2nd harmonic distortion is of course important, and had been considered decades ago, that analysis is useless for determining the change of propagation rate of other frequency signals travelling co-linear to the high intensity primary driving power. That is what I calculated.
158 was the number used per the boundary conditions specified, 4 watts per square inch.
cheers,
jn
There was a time, long ago, when this was nearly the case and mfr of speakers used that as an arguemnt as why buy their speakers -- its the same one the producer used during mix-down. The hayday of JBL comes to mind.
Often, today, small speakers with limited bass are used to mix the music... is it any wonder that bass is more balanced with the rest of the range and thus liked when listening to similar small, limited bass speakers at home? Its more like the speaker which was used to make the recording.
Fortunately, there are still a few studios using "full" range speakers built flush into the walls -- WestLake comes to mind. (yes, console refection had to be dealt with... thus, the small close monitor). For the Final mix from the best studio recorders use both large and small speaker systems and sometimes a separate listening room so the whole gang can comment on the mix at same time.
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I don't know how rapers are working in their home studios, nowadays, (not in an appropriate way, if i believe what i'm listening
. We used too small poor speakers, like Auratone. But not for mixing, just to verify if basses and high trebles were accurately mixed for they don't disappeared on a limited loudspeaker for some reasons like too much low frequencies components on basses, or too much treble on cymbals...
If the balance was quite ok on Auratone too, we where sure our mixes was well balanced on a tonal point of view.
But it is very practical approach that I use designing audio gear: stretch something, measure, then extrapolate to the real life. Like push current, frequency, listen through 10 identical stages instead of one, and so on. Some things that are audible like asymmetrical slew limitations, phase intermodulations, other kinds of dynamic distortions, and so on, are hard to measure in real conditions, but when stretched they can be understood and minimized better.
Just another reminder that we are talking about Blind Listening Tests. My outrageous contention is that even you, Mr. Marsh, might pick certain small speakers over your present huge system in a Blind Listening Test.
This can't be tested this millenium unless you fund replicating the Listening Room and Blind Listening Setup I had at Wharfedale. Probably not far off 100k GBP as the Listening Room has to be good and there's the gear to run it including the 1000W amp which is now Unobtainium.
Your favoured speaker system needs to be manageable by 2 people with the aid of a trolley and must fit through a standard interior door without too many bangs and bumps to give the game away. I'm prepared to go a long way to meet Golden Pinnae provisions but draw the line at an O2 free listening room
A simpler solution might be the automated Speaker Mover that Floyd commissioned from bcarso for Harman that I'm now told was never built.
Programme material. Entirely your choice of music but must include at least one of simple instrumental, complex instrumental, single voice (may have instrumental accompaniment), complex voice+instrumental. Any genre you like. I will insist you spend at least 30min listening but you can take up to 1/2 day if you wish. It must be music YOU enjoy and listen to but you are encouraged to use any of your own recordings especially if you have some idea of what the real thing was like.
However, if you listen to Dead White Men's Music, I'll put in a plea that you consider some of Aaron Heller's recordings on the link I posted. The microphone used has the most extended velocity LF of any from the 20th century. Please download VVMic and try these to select the stereo patterns you prefer. I guarantee you will not be disappointed even if the rest of my ramblings are issuing from the wrong orifice. But you don't have to use these if Beethoven, Stravinsky et al are not your thing so please listen to them beforehand on your present favourite system. You dun like, you dun use.
No test signals, sweeps, pink noise etc though these can be used AFTER you've completed the test.
It's an ABC test and I'll break protocol to warn you I might be evil enough to make 2 of the presentations the same. I want something out of this too and that's some info as to whether you are deaf.
Just another reminder that we are talking about Blind Listening Tests. My outrageous contention is that even you, Mr. Marsh, might pick certain small speakers over your present huge system in a Blind Listening Test.
This can't be tested this millenium unless you fund replicating the Listening Room and Blind Listening Setup I had at Wharfedale. Probably not far off 100k GBP as the Listening Room has to be good and there's the gear to run it including the 1000W amp which is now Unobtainium.
Your favoured speaker system needs to be manageable by 2 people with the aid of a trolley and must fit through a standard interior door without too many bangs and bumps to give the game away. I'm prepared to go a long way to meet Golden Pinnae provisions but draw the line at an O2 free listening room
A simpler solution might be the automated Speaker Mover that Floyd commissioned from bcarso for Harman that I'm now told was never built.
Programme material. Entirely your choice of music but must include at least one of simple instrumental, complex instrumental, single voice (may have instrumental accompaniment), complex voice+instrumental. Any genre you like. I will insist you spend at least 30min listening but you can take up to 1/2 day if you wish. It must be music YOU enjoy and listen to but you are encouraged to use any of your own recordings especially if you have some idea of what the real thing was like.
However, if you listen to Dead White Men's Music, I'll put in a plea that you consider some of Aaron Heller's recordings on the link I posted. The microphone used has the most extended velocity LF of any from the 20th century. Please download VVMic and try these to select the stereo patterns you prefer. I guarantee you will not be disappointed even if the rest of my ramblings are issuing from the wrong orifice. But you don't have to use these if Beethoven, Stravinsky et al are not your thing so please listen to them beforehand on your present favourite system. You dun like, you dun use.
No test signals, sweeps, pink noise etc though these can be used AFTER you've completed the test.
It's an ABC test and I'll break protocol to warn you I might be evil enough to make 2 of the presentations the same. I want something out of this too and that's some info as to whether you are deaf.
The speaker mover was built and is quite operational indeed. What was not completed was my fancy computer-controlled switching system to allow preset level adjustments, Vishay resistors, AD797 + paralleled AD811, mercury-wetted reed relays, fade-up/fade-down with thereafter-bypassed optocouplers, during which time masking noise was produced to make sure cues about bumps and grinds were inaudible.
I'll have to ask Sean what they are using instead of the fancy stuff. Probably some bog-standard but functionally similar system from Audio Authority.
Brad
Your favoured speaker system needs to be manageable by 2 people with the aid of a trolley and must fit through a standard interior door without too many bangs and bumps to give the game away. I'm prepared to go a long way to meet Golden Pinnae provisions but draw the line at an O2 free listening room
Why would I need to move my subwoofer? I don't move my fireplace as well. It belongs to the living room, as well as my subwoofer.
I don't hear throat distortions, by the way.
However, on higher power I hear distortions caused by motors and cones, so when sofas shake sometimes I hear some sound from that hole. It is bad, so the next time I have a chance to open the floor I will make longer waveguide and use drivers with bigger cones.
Attachments
I suppose the thinnest diaphragm and the biggest it's size for the given highest frequency.
By the way, I got an envelope today from Israel.
Here is the picture attached. Let's see what I can do with them...
Attachments
Sorry, guys, I'm just catching up.
Ha ha, Esperado, are you really THAT old?
Let me see if I get it right. After the disco years came ...
Punk
New romantic
New Wave
NDW (Neue Deutsche Welle)
Dark Wave
Hip Hop
Electro
House / Acid house / Deep house / Hip-house / Hard house
Techno
Gabber
Jungle
Drum 'n' bass / Techstep / Dubstep
Speed metal / Trash metal
Industrial
Some styles died off, some went thru several permutations and are alive and well. What was underground at the end of the 80's is now mainstream.
Did I miss anything? I stopped actively spinning records at the turn of the century, so I might be a bit off.
Still have around 3k 12", and two 1200's, though, and can give kids with their laptops run for their money, if needed ...
Best,
P.S. In my opinion, the birth of new styles coincided with the new musical instruments hitting the market back then. After the widespread of samplers it sort of went downhill.
Ha ha, Esperado, are you really THAT old?
Let me see if I get it right. After the disco years came ...
Punk
New romantic
New Wave
NDW (Neue Deutsche Welle)
Dark Wave
Hip Hop
Electro
House / Acid house / Deep house / Hip-house / Hard house
Techno
Gabber
Jungle
Drum 'n' bass / Techstep / Dubstep
Speed metal / Trash metal
Industrial
Some styles died off, some went thru several permutations and are alive and well. What was underground at the end of the 80's is now mainstream.
Did I miss anything? I stopped actively spinning records at the turn of the century, so I might be a bit off.
Still have around 3k 12", and two 1200's, though, and can give kids with their laptops run for their money, if needed ...
Best,
P.S. In my opinion, the birth of new styles coincided with the new musical instruments hitting the market back then. After the widespread of samplers it sort of went downhill.
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