sorry SY I was talking for myself and my understanding of Eric's description. I wouldn't assume to speak for him.
For clarity, I refer to cymbals that have small rivets loosely fitted so they rattle when the cymbal is struck. And yes, I've seen them plenty in rock situations...
For clarity, I refer to cymbals that have small rivets loosely fitted so they rattle when the cymbal is struck. And yes, I've seen them plenty in rock situations...
Sure, I see it as a ferrite bead type device also, however low in content of magnetic elements/oxides.
Looks like the patent above is using similar ingredients to the QP's ???.
So is the QP also adding feedforward noise to the internal resistor passed noise to achieve noise cancellation/reduction ???.
Eric.
Our ferrite man is of work at the moment (with stress!) otherwise I'd ask him, and probably be no wiser. But from experiments and noise suppression problems over the last couple of years and lectures on ferrites (yawn) I do know that the lattice when fired has a lot to do with the properties. I wonder whether the use of Al2O3 as a base ceramic is related in any way to the use of Al in alnico magnets. i am guessing here, but could the addition of Al oxide give a composition that has all the attributes of a soft ferrite, but requireing less active! ferromagnetic compounds, or altering the effective frequency range of the ceramic.
Hi Marc, the authors are very specific in describing the process of baking the ceramic - 20 to 32 hours is the quoted process time.
Y&L Technology Inc is listed as the patent assignee, and on the Y&L website Y&L Technology _Background of RD Team, a Dr Ching-Hui Huang is listed as leader of the design team...Parasound is mentioned.
The noise reduction claims are substantial....anybody heard of this product being used anywhere ?.
Eric.
Y&L Technology Inc is listed as the patent assignee, and on the Y&L website Y&L Technology _Background of RD Team, a Dr Ching-Hui Huang is listed as leader of the design team...Parasound is mentioned.
The noise reduction claims are substantial....anybody heard of this product being used anywhere ?.
Eric.
No, they are quite different. Aluminum oxide is used basically to fuse stuff together- it has no particularly useful magnetic properties. You can demonstrate this to yourself by using a piece of sandpaper wrapped around a wire or held near a speaker magnet.
In Alnico, the aluminum is in a different oxidation state and is part of an alloy.
Poor etiquette Stu.
Live rock sound is done the same (eq, comp etc) and people still keep going to live rock shows, large and small.
Modern pa systems can be seriously good nowadays....two of the more notable shows I have seen lately were Grace Jones and ZZ Top, both outdoors and at night.
Ok, neither genres are high brow, but it needs to be said that the live sound from this particular system is as good as it gets...imagine a few of your known/reference/favourite tracks played outdoors live and on a limitless uber hifi audio enlargement system.
This modern live sound is better than any recordings of course, but not all that far removed...rock studio recording is essentially capturing what is played on stage except in a quieter environment...obviously an honest rock band needs to be able to reproduce live the hit recorded songs that were proven in a live environment in the first case usually, so the record is actually capturing what the musos play live anyway.
Standing side stage and back stage gives the opportunity to hear individual natural/instrument sounds and thus the ability to compare those to the live amplified version and also the recorded version....often nicely close.
Stuart, I read that you see plenty of live shows yourself....what kinds and what venues ?.
Eric.
You mean like this?
New 22" A Zildjian Swish Knocker with 20 Rivets | Zildjian.com
Notice the recommended genres. You can also give it a listen.
That is quite a generalization, sir. No two cymbals sound the same; that's why most drummers have quite a few. I would be very upset if the attack/sustain/decay of my heavy 22-inch ride sounded the same as my 8-inch paper-thin crash!
Seems there is a fair amount of arguments from ignorance. I applaud the original poster for trying to prove/disprove a theory with limited external bias. That is the basics of science and I firmly believe this is a noble cause, especially for this approach to better sound which alleges it is not witchcraft but based on sound scientific principles (altough I struggle to see a paper or other independently validated evidence as to effect).
I think it is fair to remind ourselves what we must expect from an idea? That it be a reasonable advance in knowledge; that it be built on a foundation of evidence; that it be testable; that it should lead to new and useful questions and ideas.
So for this innovation seems to come short, but I wish for more insights as the testing continues!
I think it is fair to remind ourselves what we must expect from an idea? That it be a reasonable advance in knowledge; that it be built on a foundation of evidence; that it be testable; that it should lead to new and useful questions and ideas.
So for this innovation seems to come short, but I wish for more insights as the testing continues!
Yes, a reasonable amount of live music (2-3 times a week). Heavily weighted toward singer/songwriter stuff, but certainly jazz, rock, C&W, and classical as well. Anywhere from a 2000 seat hall (e.g., the Paramount) to small clubs (Ghost Room, Flipnotics, Whip In, Mohawk, Stubbs, Continental, Elephant Room, Groene Dance Hall, Carousel, Beauty Bar) to my living room. Some odd venues as well- I've been doing a remote recording project in a pedestrial tunnel.
I don't go to huge venues- stadium rock bores me to tears and the SPLs are stupid-loud.
That's a fair bit of live listening, and wide ranging.....likely more than most around here except for those working in the industry (I am one of those...getting paid to see good shows is icing on the cake, although some shows I most certainly would not shell folding cash out to be in the audience !).
Many touring shows hire a local L'Acoustics Kudo system that can sound magnificent in the hands of a good operator, however first class sound is not universal.
Some of the best sounds I have heard are in small club/pub venues with friends playing and myself doing the sound mix.
The tunnel recording project sounds interesting...a while back at a Sunday market a soloist was playing at the entrance to an arcade (ceramic tiled floor and glass shop fronts) and the combined initial and reverb sounds were magical...I still wish that I had my Edirol recorder with me that day.
Keep us posted on your results.
Eric.
Many touring shows hire a local L'Acoustics Kudo system that can sound magnificent in the hands of a good operator, however first class sound is not universal.
Some of the best sounds I have heard are in small club/pub venues with friends playing and myself doing the sound mix.
The tunnel recording project sounds interesting...a while back at a Sunday market a soloist was playing at the entrance to an arcade (ceramic tiled floor and glass shop fronts) and the combined initial and reverb sounds were magical...I still wish that I had my Edirol recorder with me that day.
Keep us posted on your results.
Eric.
I'm planning on releasing the recordings by the end of the year so you'll get a chance to judge for yourself. All hi res (24/96), no compression, minimal miking (Blumlein). The tunnel is stone, about 10m x 25m, less reverberant than one might think- the rough stonework does a nice job of diffusion.
The most sensible & fairest post in this whole thread! The post following yours only underlines your first statement, amazing 😉
I have one C&W performer I'm working with- don't let the pop-crap from Nashville bias you against the genre (I plead guilty to that- until I moved to Texas and started hearing the Real Deal, I thought it was all junk). To give you an idea, he says that his greatest musical influence is Ornette Coleman!
No Bybees in the setup- I use more conventional and effective means of low noise design in my mikes and preamps. It's more influenced by Scott Wurcer than Jack Bybee; I can live with that.
No Bybees in the setup- I use more conventional and effective means of low noise design in my mikes and preamps. It's more influenced by Scott Wurcer than Jack Bybee; I can live with that.
Yes Pano has made a valiant effort to define the course of this thread, but alas this thread has been derailed as is all to common around here. 🙁
QP's got bought and shipped (and lost ?), repurchased by a volunteer (Cal) but still no real results....too busy in the kitchen or making portable boom boxes to try them...multiple suggestions from me on testing them with his new creations but no response and no results so far....makes me think that Cal is not serious about trying any of this.
It seems that lack of understanding of how QP's work is predisposing all too many present here to dismiss them entirely and resort to ridicule.....on the other hand there are some members here who do have experience of QP's and advocate them, however they are curiously absent in this discussion....I suspect that the ridicule and nay saying deter them from bothering to contribute.
I have long experience with a QP like device (similar but different) that can be added or deleted to any system from small shelf system through to stadium pa system without signal switching or cable swapping and has real and objectively measurable results in addition to universal subjective acclaim in both sighted and blind testing.
So wake up you guys, please understand that typical replay equipment can be subjectively improved out of sight and at little cost by using techniques that are far out left field and not obvious to all of us who have studied standard physics and electronics.
Eric.
Not only factually incorrect, but grossly unfair to Cal. He put up the money and doing the work. You've contributed nothing, neither money, effort, nor data, but are complaining about how he's prioritizing it in his life and questioning his integrity.
You mean C&W meets jazz ? 😱 ...hmmm, might be good ???.
Keith Urban (odd name for a C&W performer) was friends with my next door neighbour way back when and I met him a few times before he went to the US and struck pay dirt ...nice guy but cocky as I recall...I guess one needs to be that way to get ahead in a population of 300 million.
With Scotts help and advice I am sure that you are in good hands and I wish you the best results.
Eric.
Keith Urban (odd name for a C&W performer) was friends with my next door neighbour way back when and I met him a few times before he went to the US and struck pay dirt ...nice guy but cocky as I recall...I guess one needs to be that way to get ahead in a population of 300 million.
With Scotts help and advice I am sure that you are in good hands and I wish you the best results.
Eric.
There's plenty of that around here- the search term you want is "Texas Swing." The C&W guy I'm working with really does traditionally styled C&W, by which I would mean George Jones, Hank Williams, early Willie Nelson. But the guy can play anything. I've posted a YouTube link that you may have missed:
YouTube - Kelly Doyle "Kumar"
This is Kelly Doyle's band. Not very C&W. When it's Robert Ellis's band, it's traditional C&W.
YouTube - Robert Ellis and The Boys
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