I have seen the term "absolute phase" used in audio reproduction for as long as I can remember. Could be scientifically incorrect but an accepted term to those working in audio.
Yes, but nothing like Mr. T-E inferred. Here's a good description for the use of audiophiles:
Absolute Phase: Fact or Fallacy? | Stereophile.com
P.S. Check out footnote 1
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To fill your gaps, the absolute phase, in audio, is understood in the following way: It is the phase which, when the microphone's membrane is pushed by a front of pressure, allows a loudspeaker (mounted with its membrane in front of the listener), to move its membrane towards it, creating a front of positive pressure in the room.
It is not correlated with the real time, as it has to be this way even across the whole recording and reproducing process.
if the speaker move at this instant of the music in the opposite direction, we say the system has the absolute phase reversed.
The fact to know if it is audible or not is subject to controversy, and I will certainly not enter in a debate with you about this matter. Neither read your links. In fact, i don't want to enter in any kind of debate with you, anyway.
Tip: About what you said about my CFA thread, try to understand the difference between "Help" and "collaboration".
And between a painting and its frame. (When someone does not make the difference, we tend to talk to him about art with simple words, which may seem naive.)
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I absolutely agree. Now what would you think of Mark4's claim that a 7805 sounds actually better than any low noise LDO in the same AK4499 application?
If the engineer is concerned about the sound of time misalignment they may try use of: Little Labs ...often they can get a sound they like with it despite it being an imperfect tool.
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From art_h2_v1.pdf
You are getting the board soon. Perhaps you can share what you find after your evaluation?
Just a single omni mic half way between your speakers and in same plane. Play back should have same sound and also exact spot location between the speakers.
THx-RNMarsh
A modest cost measurement mic... flat, low distortion, omni.
Absolutely. To take a simple example, recording dubbing for movies, we use two microphones One close to the dubbing actor, to get the right presence during the film's closeups, one far, to get the far distances in rooms. And mix the two at various relative levels to get the correct distances in the sound, depending of the subjective camera's distances (lens focal used).
But, because the speed of the sound in air, we have phase turns in the treble between the two mikes when they are mixed together and comb effects.
One solution to get rid of this is to set a delay to the close mic corresponding to the time the sound takes to cross the distance between the two microphones.
Of course, the "absolute" relative phase between the two microphones has to be respected. If not they are in phase opposition: That we could use to add room reverberation subtracting the main signal from it.
[edit] using the fact that mics are not exactly similar, we use sometimes to set two of them in phase opposition in order to create this king of sound that everybody has noticed in the famous "Days of pearly spencer". This can be used in movies, to create a pretty believable sound of telephone or earbuds.
If I believe how SYN08 evaluates my skills in electronics, I think, seeing my avatar, that's the way he imagines my listening skills ;-)
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Will do, of course this is about tonal balance and harmonic distortion in small degrees, not absolute phase
The way the vibrating cilia are implanted in our ears is not symmetrical.
This may explain why some people feel a difference on percussion attacks according to the absolute phase (pression or depression). And why some designers find it useful to equip their preamps with phase inversion buttons.
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You mean the relative phases between a signal and its harmonics ? It is an other subject. Sorry for the off topic.
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Yes, the phase of the distortion is reversible which supposedly can have an effect on depth perception, it will be interesting to play with
"So why is the phase important? Well, it's a subtle thing. I don't suppose everyone can hear
it, and fewer particularly care, but from listening tests we learn that there is a tendency to
interpret negative phase 2nd as giving a deeper soundstage and improved localization than
otherwise. Positive phase seems to put the instruments and vocals closer and a little more
in-your-face with enhanced detail." NP
"So why is the phase important? Well, it's a subtle thing. I don't suppose everyone can hear
it, and fewer particularly care, but from listening tests we learn that there is a tendency to
interpret negative phase 2nd as giving a deeper soundstage and improved localization than
otherwise. Positive phase seems to put the instruments and vocals closer and a little more
in-your-face with enhanced detail." NP
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If your talking about ADR ( not dubbing the whole movie but replacing or adding lines to existing dialogue) the better solution is to use the same mics the same way as they did in production. We set up a close mic, a lavalier, and a shotgun which we would move to match when needed. Then use one. Reverb was added latter to match. We are so good at hearing dialogue, Dropping in one line of ADR is one of the hardest things to do unnoticed in movie sound. Using the wrong mic can make it impossible with any amunt of DSP.
Matt, the H2 board produce an exagerated phase effect. I hope your perception becomes a bit more tuned to the subtle effect that it becomes easier for you to spot different spatial cues on recordings they label as normal and inverted polarity after carefully evaluating the board. But you can listen to both normal and inverted speaker polarity even without the board.
Being critical (post #31341) of how others post while you behave the same way is called "hypocrisy".
As for the unanswered question, when was I removed from your ignore list?
The main flaw with your test set up is that the replaying version has double reverb reaching the listener while the live version has single reverb reaching the listener. It's not apple to apple comparison. If this is what you've been doing all these years/months/days, it's time to redo it the proper way and update your audio database.OK quickly... short version ---> accuracy test. One using no electronic test equip:
Find a person who you know very well. Someone you talk/listen to every day. A male and a female would be nice.
Have that person stand between your speakers and recite something. While they are reciting, record them also. You sit in your usual listening place.
Now play back their recorded voice. Adjust level to be the same as when they talked. Does the reproduced voice sound exactly the same as hearing it "live"?
If it does, you have an accurate system.
You are comparing live voice sound you know well in the same room and space and location acoustics as your music reproduction system. At least for the critical midrange freqs.
Other sound sources could be used also for extended range. but voice of a known person is really a good test for accuracy.
You can fill in the blanks on the How-To.
THx-RNMarsh
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