"Percussion or just hitting a couple of wood blocks" are made of few summed sine waves.
Well stated and exactly my earlier point, CD players are not up to reproducing
full dynamic range unless accompanied with a companding device and typical
choices are products made by DBX or Dolby. So basing steep transients on
standard CD players is missing out on some 30db or more of dynamic range.
Basing steep transients on square waves as John points out is better.
The lifetime work of David Blackmer and others like Bob Adams always
questioned arriving at standards that were industry driven rather than
what was actually possible.
https://en.wikipedia.org/wiki/Dbx_Model_700_Digital_Audio_Processor
What then happened was some 30 years of PCM and the Delta Sigma
Modulator forgotten to all but a few.
Audiophiles should seek ability to reproduce full dynamic range in their equipment
and encourage recordings similarly to do the same, in so doing preserving sound
until equipment manufacturers provide companding circuits installed standard
and may the sun rise on that day sooner rather than later, and everyone in
a mass gathering forget MP3 ever existed.... can I wave the wand ?.
Cheers / Chris
That sounds like weapons grade horse do in a sentence. When would you need >100dB dynamic range?
Waly, I wish that you WOULD attempt to correct my errors, rather than just personally attacking me.
I, too, have some electronic engineering course background, even though I finished with a BA in Physics. I also took professional night courses while at Ampex from noted professors and later took courses at UCB, in upper division and graduate in analog engineering. Heck, I even tutored one UCB professor on optimum devices and topologies about 35 years ago, so maybe I actually know a little bit more about the subject than you give me credit for.
Now, what about mistakes or misunderstandings? Sure, I can be less perfect in my explanations than the best possible as I am typing on the fly, not from a prepared text, but my experience is above yours and almost everyone else on this subject of slew rate and rise time in audio signals. I did the research as well as helped develop the TIM30 and TIM100 standard back in the 1976. I hope those who really want to improve their design ability will listen up when I go out of my way to clue them in, because if not, they will be making the same mistakes that I did before TIM was recognized in audio. Why waste your time talking about something, if you don't want to improve your understanding?
I, too, have some electronic engineering course background, even though I finished with a BA in Physics. I also took professional night courses while at Ampex from noted professors and later took courses at UCB, in upper division and graduate in analog engineering. Heck, I even tutored one UCB professor on optimum devices and topologies about 35 years ago, so maybe I actually know a little bit more about the subject than you give me credit for.
Now, what about mistakes or misunderstandings? Sure, I can be less perfect in my explanations than the best possible as I am typing on the fly, not from a prepared text, but my experience is above yours and almost everyone else on this subject of slew rate and rise time in audio signals. I did the research as well as helped develop the TIM30 and TIM100 standard back in the 1976. I hope those who really want to improve their design ability will listen up when I go out of my way to clue them in, because if not, they will be making the same mistakes that I did before TIM was recognized in audio. Why waste your time talking about something, if you don't want to improve your understanding?
and of course you do have >100 dB psychoacoustic weighted dynamic range with dithered, noised shaped CD 16/44 digital audio - good dithers being fairly universal on CD music for decades now
All the time and more, hear the difference and the mediocrity
of what you think is good soon disappears.
The main point though is for recordings to preserve dynamic range
which DBX and Dolby have thankfully done realising the physical limitations of
analogue tape since about 1971 and digital recorders since about 1995.
Cheers / Chris
Pain threshold is 120dBA
Noise floor in good listening room 30dBA
I think you are wrong
Now if only I could get that response in a haiku!
erm:
120 is max
noise floor in room is 30
you are full of it
please show us some classic analog era Dolby+mag tape noise plots alongside some modern noise shaped dither noise floors
I've looked, don't see anything for CD enthusiasts to be embarrassed over
there are a literal count on your fingers number of exotic custom analog mag tape machines made for > $100M budget movie sound production that can exceed CD dynamic range
but then the fair comparison would be today's digital audio mastering process which is generally 24/96 with the best ADC again exceeding those custom analog machines with greater than 120 dB dynamic range
I'm not sure I understand how you can talk about redbook being inferior in DR in the audio band based on lacking frequencies ABOVE the audio range..?
It's even stronger smelling than that- noise floor is way lower than -100dBFS and tones are clearly audible below that.
Presumably a fashion audio designer who doesn't care about actually reconstructing the signal?
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