I'm not sure it will help with a continuous signal. Our ears are more sensible to the attacks of the sounds.
The World Beyond 20kHz
Funny thing, this. For me, the transient, percussive, Tr-type sounds* have been easiest to get right, at least to the point of sounding like they're here in the room with me. The bigger challenge has been the dense, sustained, complex clouds of sound, like orchestra, organ, or Nine Inch Nails. That stuff has certainly taken longer to get dialed in chez Club Jim. (But we're getting there. 
) Again, I think it comes down to different ears, different sensitivities.
*An exception might be solo acoustic piano, which seems to cross through both categories.
) Again, I think it comes down to different ears, different sensitivities.*An exception might be solo acoustic piano, which seems to cross through both categories.
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It is not always the media, often the mastering/re-issuing is also quite different. But I have done extensive measurements on LP systems, and the technical parameters would explain a lot of the differences too. Like 2nd harmonic at -38dB - at 1kHz? Channel separation about 20dB?
BTW, all the brouhaha a few pages ago about the blind test vinyl versus digital, where I felt pressured in coming up with facts & figures and data? I see that NOBODY downloaded the article I linked to. So the so-called interest in facts & figures and data is just complete BS in some quarters, apparently.
That doesn't stop people from having a strong opinion on it of course, or even dismissing it without having a clue of what they talk about.
It would be hilarious if not so sad.
Jan
Its a pulse generator and can be set to single pulse of any period or multiple rep rate/freq as you please. Just to know what a change in Tr sounds like to a transient signal (pulse)...... what is detectable?
.... and I still want to know if 10usec also applies to the speakers as well. What goes in should also come out?
Seems from the literature an explosive blast has a Tr of typically 5 usec. So we should be able to record it as 5usec transient Tr and play it back as 5usec Tr signal. And, I would add the speaker also.
Are we there, yet?
THx-RNMarsh
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They did use, originally, real cannons, so the speakers need to be able moving some air on the low end. 🙂
1812 Overture#Instrumentation - Wikipedia
Further down in the Wiki one can read:
"Kenneth Alwyn's early stereo recording for Decca used a recording of slowed-down gunfire instead of cannon fire."
edit: Let alone that a cannon blast produces a lower frequency than a gun, I think also with respect to the very high pressure produced by the cannons may be a reason to keep the microphones a bit farther away, hence the higher frequency content of the blast do also gets naturally more attenuated by distance which would affect the Tr signal.
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I have found the 1812 overture to actually be more impressive as a recording rather than live! The issue live is that the guns are kept a safe distance away and the time delay from this really screws up the timing. Worse yet modern artillery doesn't really have the satisfying boom of whatever is on the recording.
Thank you for sharing findings of your work with non audio professional like me Jan. The H2 and channel separation are really valuable pointers. There is currently an active thread Anybody else tending to MONO ? with a notable post #22 showing largely ignored comb filtering effect of stereo speaker response. So other technical aspects of vinyl cutting and playback not widely known to users also contribute to the different presentation preferred by some.
A kind of sad but also come with a good side. People are encouraged more strongly to think and adapt their ways to work within the interesting www sea of myth, data, fact, belief, opinion and fiction to advance the state of the art of their personal quest. Like Krishnamurti used to say "You must be free of authority to find reality. It is one of the most difficult things to be free of authority, both the outer and the inner."
I googled the title of the article you mentioned, but only came to an AES preprint, not to Linear Audio. I downloaded and read the AES preprint, though. Very interesting. But I guess I'm not the one who needs convincing here.
The 1812 on telarc was proper old skool cannons. BUT on the vinyl as its close to the centre they will have had to be limited to be cut and be trackable. The CD with the 'digital cannons' warning on it should be better, but until someone rips the vinyl to compare we won't know....
I know, but we are talking about getting the 'best' out of something, so if a standard is sub optimal we should move beyond it.
This I do not buy as there is no obvious mechanism for this.
This 'NEED' I am still not convinced of once you go past the limitations of the RIAA spec and do something to actually get a better performance. It has not been properly investigated, but when George built a transamp there was no evidence of any mechanical resonance effects. More investigation is needed.
Wouldn't it be great if MM, when given a proper chance turn out to be just as good as MC?
It's here: Linear Audio | your tech audio resource
You can also search on author name Uwins, Mike. Mike has been working as a DJ and knew what many in 'regular' audio don't know: when you see a DJ playing or juggling an LP (called 'scratching') that LP often doesn't have any music on it, but has timing codes cut into it. The timing codes are send to the streamer which after decoding sends the relevant music segments to the amps. Of course there's a lot more DSP involved to make it sound as if a real LP is scratched, and/or played normally.
So this can look like playing vinyl while actually playing digital.
Jan
Everything is fine. No one was hurt.
Between the moment we take out our new ultra powerful smartphone from its box and the moment we throw this junk in the trash, our eyes on it has changed.
Hifi is not rocket science. It is just a hobby. A "make believe" game.
As such, it has a lot to do with our fantasies and our culture. Why would we seek to establish an absolute truth (facts & figures and data) about so subjective things ?
On the other side, rocket science is what helps the audio designer to reach its goal faster ...
In an other thread, I wrote:
"Navigating safely between the shallow waters of objectivism and the reefs of subjectivism does not leave us a lot of leeway." At least let's try to make the cruise fun and enjoyable.
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I did some research to see if anyone else has analysed the CD version of the 1812 cannons and found this Telarc’s cannons | HiFi Writer Blog. Sadly no scales on his plots but he does show show 200ms snapshots which seem to show a rise time (mk 1 eyeball) in the 20ms range which is consistent with his comment of a 38Hz fundamental from the cannon.
And yes, clipped to *******.
Hmm £7 for a copy on CD. I think that's worth a punt for research purposes.
Given we know the rough fundamental can it be 'unclipped' with any degree of accuracy?
And yes, clipped to *******.
Hmm £7 for a copy on CD. I think that's worth a punt for research purposes.
Given we know the rough fundamental can it be 'unclipped' with any degree of accuracy?
You didn't provid
Analogue Hearts, Digital Minds €0,99
Jan, put it up for free for a few days for diyAudio members and we can be the judges.
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You saying re releases/remastering is adding distortions that don't belong ?.
Yonks ago I found a site that claimed remastering 'improvement' by passing signal through their 'special' analog/tube processing stages, their catalog was extensive and included multiple genres.
IIRC they provided HiRes demo downloads....I downloaded some demos and took a listen and to me on dead clean clear replay system the results were "drive me out of the room" * bad/wrong/horrific yet reviews gave glowing reports.
You should have provided a link to your page in addition to the graphic.
As above.
View attachment 653708
Analogue Hearts, Digital Minds €0,99
Jan, put it up for free for a few days for diyAudio members and we can be the judges.
* Copyright: Jocko Homo
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I would see it better in the Vendor's Bazaar. Including this 0.99 old joke that gives-me the feeling somebody is taking-me for an idiot ;-)
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