I choose by listening and noting my experience. That's the only way I can determine if I like the sound of any piece of gear, or not.
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Sorry, good music replay has got nothing to do with being "nice" for me -- it should grab you by the short and curlies, and say, "Listen to me, sonny Jim!" ...
I said nothing about "being nice". I'm looking for an experience which is as close as I can get to the experience of listening to live music. (I listen mostly to classical music).
Do you confirm the experience of listening to music by measurements? How do measurements confirm your experience? How do measurements confirm if the music is moving you, or not? How do you measure the degree to which the music is engaging and moving you?
With what mechanism do you enjoy listening to music (if you do enjoy listening to music)?
http://www.diyaudio.com/forums/digi...cs-through-patent-pend-cd-sound-improver.html
An interesting and in places mind boggling read
An interesting and in places mind boggling read
I don't understand what you mean here. Can you define your terms? They're very ambiguous.
I'm famous for not enjoying music.
What isn't clear to you?
Mechanism?
Enjoying listening to music?
You wrote: "The eye/brain connection is likewise hugely inaccurate …", my question is whether you have another mechanism by which you enjoy listening to music? Or is the same "hugely inaccurate" mechanism serves you to enjoy listening to music?
If an inaccurate mechanism serves you to enjoy listening to live music, why do you look for another mechanism for enjoying reproduced music?
It's called the sensory system.
Hearing, seeing, touching, smelling, tasting.
Plus a list of others which are relevant for music, e.g. balance & acceleration sensors (dancing)
For split personalities, such an experience can even be had in a home surrounding.
(if only mr. Hyde was a somewhat more relaxed character)
Amplifier driven at 60 Hz output 2 V RMS into an 8 ohm 225 W resistor in series with a fuse holder. Isolation transformer across the fuse holder into my AP.
Different fuses give different distortion. Turning fuses over in the holder changes the distortion.
Different manufacturers fuses behave a bit differently. For the most dramatic results pick fuses with uneven solder blobs at each end.
To me this is another example of how with precision you can measure differences in just about anything.
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The colors of the letters don't really have anything to do with it to speak of. I've attached the same image but with no letters. I've also attached another version of it which includes a cylinder. In that example, the letters are the same color.
Cool! Not familiar with that one. Another good one is Shepard tones. And to show how our visual system can override our aural system, the McGurk effect is pretty cool too.
se
jan[/QUOTE]
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Not sure, but this quote certainly helps:
Homer Simpson, are you around?Bruce patent said:
This is the moment Joshua enters the room, for an official declaration that he's a totally balanced person, when it's about music.
(Did you know that folks with good linguistical skills know that 1% stands for one percent, one per cent, one per hundred. But it need not imply, that they know what 1% means in a practical sense. Characteristic of high EQ folks with a disharmonious IQ)
(Did you know that folks with good linguistical skills know that 1% stands for one percent, one per cent, one per hundred. But it need not imply, that they know what 1% means in a practical sense. Characteristic of high EQ folks with a disharmonious IQ)
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That's how a lot of people think of it (i.e. that the pits and lands are effectively a direct representation of the digital audio data), particularly those who come up with various CD "tweaks," but that's not really true.
The pits and lands represent the eight-to-fourteen modulation (EFM) that the audio data is put through first (forgetting NRZI for the moment). The 16 bit words are broken up into two 8 bit blocks. Then those 8 bit blocks are translated into 14 bit blocks, and those blocks are chosen so that 1's are separated by a minimum of 2 and a maximum of 10 0's.
This requires a lookup table. So when the receiver gets the 14 bit block, it goes to the lookup table and sees what 8 bit block that 14 bit block corresponds to. Then it takes the two 8 bit blocks and puts them back together to make a 16 bit word.
And of course as you say there's a lot of other overhead going on as well. But just wanted to illustrate better that the notion of the pits and lands on the CD having any direct relationship to the actual audio data is pure fantasy.
se
No, I'm not a balanced person, not in any area of life.
The same unbalanced me who enjoys listening to live music is seeking, when listening to reproduced music, an experience as close as possible to the experience of listening to live music.
Well they could make a good argument that it's use certainly does not cause any confusion vis a vis science and engineering.
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