Too old
I'm just running on memories there, Jacco...too old, too few brain cells left to mess around...
I'm just running on memories there, Jacco...too old, too few brain cells left to mess around...
not me, or bcarso it seems. music does not have to speak to me softly/beautifully, I dont mind being ravaged by it on occasion 😉
Just checking. Part nostalgia, hey ?
(I inhaled too much, to recall much. But anything alternate has always been my thing, though preferably amplified acoustic. Rather not Thai-delic to go, through a synthesizer boombox)
Music / Crainial Enhancement
I don't know if anyone has caught any of my AvantProg shifts on WXYC, I love exploring alternatives for sure...why listen to the same thing over and over?? That kind of musical consumption confuses me.
And while I initially thought this thread was wayyy off topic, it isn't; I use music much as some would a drug. I can both enhance or change my mood by selecting the right aural surrounding.
Redirecting back a bit more on target; I used to work at a stereo store and the very same system that customers would praise one minute, they would wrinkle their faces in disgust when I would put on music they didn't like, claiming to now hear all sorts of sonic problems...even if it was an impeccable recording. While all here would say..."DUH!" to this, I believe the same phenomenon rears it's head in far more subtle ways.
As stated here many times, familiarity with a track allows one to hear far deeper into the sonic qualities than listening to one foreign to them. Perhaps a true comparison of equipment sonics can only be done using tracks that all involved have agreed they like and spent a lot of time with? Maybe this is already protocol, I don't know.
Oh the complexities of auditory cortical perception...
Howie
Howard Hoyt
CE - WXYC-FM 89.3
UNC Chapel Hill, NC
www.wxyc.org
1st on the internet
Howard Hoyt
Just checking. Part nostalgia, hey ?
(I inhaled too much, to recall much. But anything alternate has always been my thing)...
I don't know if anyone has caught any of my AvantProg shifts on WXYC, I love exploring alternatives for sure...why listen to the same thing over and over?? That kind of musical consumption confuses me.
And while I initially thought this thread was wayyy off topic, it isn't; I use music much as some would a drug. I can both enhance or change my mood by selecting the right aural surrounding.
Redirecting back a bit more on target; I used to work at a stereo store and the very same system that customers would praise one minute, they would wrinkle their faces in disgust when I would put on music they didn't like, claiming to now hear all sorts of sonic problems...even if it was an impeccable recording. While all here would say..."DUH!" to this, I believe the same phenomenon rears it's head in far more subtle ways.
As stated here many times, familiarity with a track allows one to hear far deeper into the sonic qualities than listening to one foreign to them. Perhaps a true comparison of equipment sonics can only be done using tracks that all involved have agreed they like and spent a lot of time with? Maybe this is already protocol, I don't know.
Oh the complexities of auditory cortical perception...
Howie
Howard Hoyt
CE - WXYC-FM 89.3
UNC Chapel Hill, NC
www.wxyc.org
1st on the internet
Howard Hoyt
Not too many selenium rectifiers around these days. Considering the dopant levels of arsenic, etc. the chips are probably cleaner than beach sand even after processing.
A two edged sword, I find. If one starts to become too familiar then you start listening to the music, rather than the sounds that generate the message; I've found that the mind is very good at filling in the gaps, if I listen to an inferior rendition straight after a decent one then it's very easy to mentally lift up the poorer version to match the better one - because the mind anticipates what's coming next, and plasters over the cracks.
When I listen critically, I switch off the music appreciation bit in my brain - I'm just listening to a sequence of sounds, that happens to be music - almost like listening to a noise pattern, where every pattern variation creates a different overall impact.
Why do you have two of the same track and have kept the inferior version as well? Is it the same track recorded in the same place but using different means, or do you mean something else? Sorry, I don't understand what you are saying.
Sorry it wasn't more clear, but I've played with tracks in Audacity, a music editing program, where some process was applied, DSP, to create different versions of that track. This could be MP3 vs. WAV, or different sampling rates, or different methods of undoing or reversing compression, or even the experiments in the very recent Fancy Interconnect thread ...
My tastes are wide-ranging, and I try to enlarge their scope whenever possible. In a chatroom where I was swiftly granted moderator powers I managed to both listen to very different things and also play some selections that I'd venture few had ever heard. I actually had people listening to the entirety of The Rite of Spring at one point!
For the Aussie readers, I was fortunate to have a stepson addicted to Triple J, our national 'alternative' radio, in the 80' and 90's, who bought plenty of CDs of the artists who were doing the interesting stuff: Art of Noise, Dolby, etc ...
Got me in the mood for more 'weird' things ...
Got me in the mood for more 'weird' things ...
My boyhood pal Doug went through a "purity of essence" phase in which he found dissonance, or any hint of what he regarded as "modernism", repugnant. At one point I played the Brahms second piano concerto and pointed out one added-ninth chord. "NOISE!" he shouted.
Needless to say this didn't last very long. His brother, the late philosopher Denis Dutton, was considerably older and would expose us to more adventuresome material. It's interesting to note how much some of it was utterly incomprehensible to me then, and now sounds anything but.
Needless to say this didn't last very long. His brother, the late philosopher Denis Dutton, was considerably older and would expose us to more adventuresome material. It's interesting to note how much some of it was utterly incomprehensible to me then, and now sounds anything but.
OT (from music): A nice illustration of capacitor distortion here: Signal distortion from high-K ceramic capacitors | EDN
(including some of the comments).
jan
(including some of the comments).
jan
Groner shared some of his measurements with me recently. I will wait for him to publish, but he did to some extent corroborate the EDN piece.
These considerations just drove me to switch to a fairly expensive C0G part in a filter chain, in lieu of the layout guy's X7R selection, although for the application only even-order distortion was a concern. And as can be seen, and which makes a good deal of sense, is that even-order is much lower than odd-order.
COG(NP0) should always be used over X7Rs in any sensitive analogue (or digital circuitry, eg clocks) circuitry. Z7Rs are excellent for general decoupling as they can be sourced in small (low inductance) SMD packages, but again for critical clock circuitry (all clocks🙂) small value COG next to the device pins with larger X7R further out provide a better performance than X7Rs alone, even though the package size has to increase (100p X7R 0201 package, same value COG 0603 package).
I know some don't like SMD, but for low level analogue you can create some really tight placement and routing, minimising loop area, especially of critical connections such as feedback, this is a desirable feature if for no other reason to minimise the size of any dipole structures formed by the layout and thus minimise the circuits susceptibility to airborne EMC pick up.
I was wondering while doing some really small layouts (silly small, to go in cables) whether there would be any mileage in having some amplification in a turntables head shell to process the signal as close to the cartridge as possible and thus transmit a stronger signal to the pre-amp.
Just for John and Fas42, you could even DIGITISE the signal and send a data stream.
😀😀
I know some don't like SMD, but for low level analogue you can create some really tight placement and routing, minimising loop area, especially of critical connections such as feedback, this is a desirable feature if for no other reason to minimise the size of any dipole structures formed by the layout and thus minimise the circuits susceptibility to airborne EMC pick up.
I was wondering while doing some really small layouts (silly small, to go in cables) whether there would be any mileage in having some amplification in a turntables head shell to process the signal as close to the cartridge as possible and thus transmit a stronger signal to the pre-amp.
Just for John and Fas42, you could even DIGITISE the signal and send a data stream.
😀😀
Now marce, I can recognize the benefits of that! What a great idea! And to overcome any dynamic range issues, we could just transmit the signal as a current!!
Cool!
Cool!
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