Dan, Andrew will speak his piece, I'd just like to add a bit on subsonic end of the soundstage.
Very deep bass, not necessarily actually subsonic as below 20 Hz, serves to move the music along, to give it gravitas and a kind of a fulfillment. It gives volume and substance and a feeling of some grandeur if the entire band kiskc in at some point. Consider the piece "Also Sprach Zarathustra"(1), especially the version as played by Deodato at al. (cca 1995/1996). The decisive and forceful link with the tympani does make your head raise from whatever you might be doing and helps you realize the gravity of the piece.
I don't think there are too many piecses as recorded on the LP medium which go much below 40 Hz or so, if not so, I imagine we'de bee seeing a lot of arm/cartrdge slipsliding all over the place and some people would blow their woofers.
(1) Eumir Deodato recorded an LP and the first numer on it Zarathustra. In its day, it was very popular in Europe, and I think it even made the Top Charts (but am not sure). It's the well known theme, slightley modernized in a way similar to classic jazz, with the introduction of electric guitars into the mix. I busted my behind in those days to get a copy, which I fortunately still have.
Very deep bass, not necessarily actually subsonic as below 20 Hz, serves to move the music along, to give it gravitas and a kind of a fulfillment. It gives volume and substance and a feeling of some grandeur if the entire band kiskc in at some point. Consider the piece "Also Sprach Zarathustra"(1), especially the version as played by Deodato at al. (cca 1995/1996). The decisive and forceful link with the tympani does make your head raise from whatever you might be doing and helps you realize the gravity of the piece.
I don't think there are too many piecses as recorded on the LP medium which go much below 40 Hz or so, if not so, I imagine we'de bee seeing a lot of arm/cartrdge slipsliding all over the place and some people would blow their woofers.
(1) Eumir Deodato recorded an LP and the first numer on it Zarathustra. In its day, it was very popular in Europe, and I think it even made the Top Charts (but am not sure). It's the well known theme, slightley modernized in a way similar to classic jazz, with the introduction of electric guitars into the mix. I busted my behind in those days to get a copy, which I fortunately still have.
Wrong button.
Pet stepped on it.
Actually one of the cats tried eating my cartridge, they think everything is a Cat plaything put there for their pleasure. The dog is a Pug/Cavalier King Charles Spaniel cross, basically a dog with no brain and endless amounts of energy, its the only dog I know that chases parked cars......
I know the sound you mean, that's what I am after.
The right sounding LF augmentation of what I already have is what I need, and doable with speakers and amps on hand.
This one ?..Deodato - Also sprach Zarathustra
I have Also Sprach Zarathustra (Staccato 2, Nr. 12, Op. 30) on an Ultrasone Demo CD (worth downloading)...I don't know what version/recording.
Very low organ stuff like this needs ample clean LF acoustic power, and so does a lot of other music.
Didn't somebody give spectrums that there is plenty low stuff on vinyl....maybe that means some vinyl.
How does digital copy compare ?.
Dan.
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Also sprach Zarathustra is exactly the same now as when my father played
it on vinyl 30 years ago , same room shaking 32hz intro.
It seems more "grandiose" now at a higher level (digital). The first transient
is much more frightening in digital.
I've heard it on vinyl , CD , MP3 , and FLAC.
The latter steals the show,easily.
Hmmm , how did vinyl do the 1812 overture ,definite 20-30hz content
there ?
OS
it on vinyl 30 years ago , same room shaking 32hz intro.
It seems more "grandiose" now at a higher level (digital). The first transient
is much more frightening in digital.
I've heard it on vinyl , CD , MP3 , and FLAC.
The latter steals the show,easily.
Hmmm , how did vinyl do the 1812 overture ,definite 20-30hz content
there ?
OS
I did post a picture of the LP somewhere back in the wibble
on this thread. Will upload it again tonight as its on the other laptop. Most 1812s are half a side. Telarc took the whole side.
edit: found it http://www.diyaudio.com/forums/loun...ch-preamplifier-part-ii-6492.html#post4293206
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What actually sets the physical limit on the low frequency cutting on a vinyl record? Why couldn't a very low frequency waveform be recorded if the amplitude is kept low enough and restored after the cartridge, it seems the velocity would be low and only the amplitude would be a problem?
Grieg / Peer Gynt Suite No. 1, Op. 46: In the Hall of the Mountain King -
This one nearly hits 0db at both 27/55hz , right near my 26hz sewer pipe port tuning.
Without the sub , switching to just my stereo pair - it's GONE. sounds more
like a big tom than a kettle.
Yup , not even close (realism) , without <40hz.
OS
This one nearly hits 0db at both 27/55hz , right near my 26hz sewer pipe port tuning.
Without the sub , switching to just my stereo pair - it's GONE. sounds more
like a big tom than a kettle.
Yup , not even close (realism) , without <40hz.
OS
Inductance of the cutter head
excursion defines level, not frequency.
Problem is play back, not cutting.
Alan
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no direct GD numbers, but very good discussion of phase compensation and EQ in tape recording from Studer. circa 1982 or so
ftp://ftp.studer.ch/Public/Products...l_Info/SwissSound_A810_Phase_Compensation.pdf
additional implementation discussion
ftp://ftp.studer.ch/Public/Products...l_Info/PI_1982-01_E_A810_New_Developments.pdf
Alan
p.s. all Studer manual, service notes and technical notes are available for free download. Also the house publication of Swiss Sound is available where they promo their work and technical advancements. At the ftp site linked to.
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