PMA said:
OK, PMA. I'll bite. -IF- you want to 'spill da beans', I'm all ears.
Or do you mean in the general sense, ie, properly utilizing the linear dynamic envelope of the diaphragm and the mike electronics, the cable's linearity, the mike preamp's linearity, and so on. The way that is must be done with respects to loudspeaker design has been noted as a critical aspect.
For example, driver designs from differing companies in one box, in critical ranges of dynamic expression, can disagree with one another and thus sound quite distinctly as separate drivers (24db slope and higher crossovers are the best for amplifying this issue, due to generated distortions within dynamics-kinda like the near explosive failure limit of high feedback levels when it comes to distorting within the given dynamic envelope) . For example, Ribbon and cone driver mixes tend to only sound dynamically correct at one given volume due to this dynamic envelope differential.
My work in digital video has shown me that the best picture that any given digital display device can produce comes down to a difference of ONE STEP on one setting of all of the different settings (contrast, hue, brightness, dynamic expression, black level, etc, all the fine separate colour controls, etc) together as a group, can and does notably affect the correctness of the overall dynamics of the image..as they relate to all possible images that the given digital display device may attempt to reproduce. Digital audio is no different in that aspect, and comparatively speaking, analog audio is similar.
This plays out in every aspect of design, from the linearity of the air on the given day (humidity, etc) reaching the microphone, all the way back to the humidity of the air on the end of the chain-the listener's ears. Every trace and part in between must be ideally stressed at it's particular best level, otherwise loss occurs. Distortion is created. Having built many a Bar system with stage and acoustics included (input to output and all in between-John knows the exact phenomena and thing I speak on) as the package, I'd say that it all ends up being critical.
Measurements, generally speaking, cannot show this beyond anything in a gross way..which means only the extremes of the distortions that are pursued can be noted.
There is an interesting forward by Robert Baird in stereophile magazine, for January 2009. It speaks on the smallest particle of change that the given senses of the given individual audiophile may note, and how some of us grow beyond our origins in this aspect, through desire to do so, and the innate capacity for such, or when someone else's threshold and skill level might be different, ie..lesser capacity, as it might be less nicely stated (less nice than I would like it to be).
So if my particular mechanism to discern and the mechanism of any of my customers might be greater with respects to recognizing smaller and smaller components of the signal, who gives the detractors of high end audio the right to attack such? Themselves and their innate ignorance? Back to the wine and scotch comparison.
Sigh.
I just mean that you can loose a lot simply in the process of signal reconstruction from analog or digital media. Even if they were stored by means of opamps in audio recording chain.
Give peace a chance 😉
Give peace a chance 😉
PMA said:
I have no problem giving peace a chance. However, the history of peace has been shown to be based on, in many cases....based on one party re-arranging how they deal with the situation in order to gain some quiet for a moment ---and the other party hanging on to their ignorance, and never seeing or getting the point.
That's not peace at all. It's peace and quiet, but it's not peace by any means, not in my book. 😉
RBK
" the mike electronics, the cable's linearity, the mike preamp's linearity, and so on."
When it comes to microphones you are forgetting the most important thing and that is “where you place the mike”
Stinius
" the mike electronics, the cable's linearity, the mike preamp's linearity, and so on."
When it comes to microphones you are forgetting the most important thing and that is “where you place the mike”
Stinius
New age technology
Hi,
I think that we have to think in a new way, project/produce, start with the case, use casting to make the case it would be rather cheap and very cost effective.
Another way is to make an ordinary case and shield the electronics with aluminum boxes.
What's the most efficient metal for shielding Cu or Al, maybe an alloy can be the best, and you can use recycled metal.
The Moxtone project seems to be reliable I will see more of this kind of projects, and why can't smd components take a place in SOTA products .
Maybe an alloy consisting of plastic/wood or/and powdered metal can be reliable as a case, if the shielding needs to be more efficient a metal film/foil or paint can be used.
It is some manufacturer of hard boards like Formica they have a product line with integrated copper foil in their HD products.
Have the Linear Systems JFET products a place in high end products.
Kamskoma
Hi,
I think that we have to think in a new way, project/produce, start with the case, use casting to make the case it would be rather cheap and very cost effective.
Another way is to make an ordinary case and shield the electronics with aluminum boxes.
What's the most efficient metal for shielding Cu or Al, maybe an alloy can be the best, and you can use recycled metal.
The Moxtone project seems to be reliable I will see more of this kind of projects, and why can't smd components take a place in SOTA products .
Maybe an alloy consisting of plastic/wood or/and powdered metal can be reliable as a case, if the shielding needs to be more efficient a metal film/foil or paint can be used.
It is some manufacturer of hard boards like Formica they have a product line with integrated copper foil in their HD products.
Have the Linear Systems JFET products a place in high end products.
Kamskoma
fredex said:
It didn’t miss them, but my point is that it seems like a lot of people avoid answering posts that they don't want to answer. The reason for that might be that they don’t have a clue or what?
Stinius
I'm sorry. What was the question?
If it was that the microphone has to be placed properly in the first place..I would hope that such is a 'given' point and does not need to be discussed, like all the other fine points I failed to mention. It is enough to get the idea or whole approach. The fine details are expected to be part of the direction (or understanding) during the given execution of the solution or part of the action component of the given situation. 🙂
If it was that the microphone has to be placed properly in the first place..I would hope that such is a 'given' point and does not need to be discussed, like all the other fine points I failed to mention. It is enough to get the idea or whole approach. The fine details are expected to be part of the direction (or understanding) during the given execution of the solution or part of the action component of the given situation. 🙂
Microphone placement is something that I can't do. I have tried and failed. However, I can design microphone electronics, studio boards, etc with great success. Maybe, it comes from lack of experience in this particular skill? I think so, and I think that my critics, here, have the same problem with preamp design.
john curl said:
I am sure that you can design the electronics for microphones and studio boards, and we all know very well that you can design preamps.
Stinius
john curl said:
Maybe KBK, since he thinks it is given, could give us a lesson in how he would record a clarinet or a saxophone or maybe a snare drum, microphone placement.
Cheers
Stinius
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