There is a frequency domain representation for "a ragged complex non-sinusoidal waveform". There is no time/room here for explaining Fourier decomposition there are plenty of references on the web.
DAC's, A/D's, room EQ, DSP all use Fourier and work even for the non-believers.
Yes of course there is, but you have to choose between "more approximation" (lower resolution) or exponentially increased demands on processing when you do a Fourier analysis on nonlinear complex waveforms.
The Fourier decomposition method for nonlinear and non-stationary time series analysis
A great article about Fourier decomposition method for nonlinear and non-stationary time series analysis.
From that article.
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This has nothing to do with this problem again the wrong context of non-linear. The mathematics of non-stationary non-time invariant systems has nothing to do with this either. Linking articles with words you want to find but don't understand is poor practice and only adds to confusion.
Any waveform captured by a microphone is analysed by ordinary Fourier math no matter how non-linear the process was that created it.
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https://arxiv.org/pdf/1202.3653.pdf
https://arxiv.org/pdf/1402.1605.pdf
http://www.doiserbia.nb.rs/img/doi/1450-5584/2010/1450-55841002111B.pdf
Some interesting reading on the subject.
https://arxiv.org/pdf/1402.1605.pdf
http://www.doiserbia.nb.rs/img/doi/1450-5584/2010/1450-55841002111B.pdf
Some interesting reading on the subject.
From:
http://webee.technion.ac.il/Sites/People/IsraelCohen/Publications/Avargel_nonlinear_TSP_2009.pdf
Not linking to articles with relevant information and just blatantly stating whatever you want to be true is poor practice and only adds to confusion.
He's ignoring me anyway, which is poor practice, I was trying to give him the benefit of the doubt......
He's ignoring me anyway, which is poor practice, I was trying to give him the benefit of the doubt......
Well the links keep being about modeling of processes not what is actually heard. Good luck making a speaker that launches shock waves, you could be deaf in minutes.
What exactly do you mean by musical instruments exhibiting nonlinear behaviour? Like when you press the bow harder against the string, the SPL doesn't rise exactly in proportion?
And what is the intrinsic property of a recorded waveform, either analog or digital, that is "complex" and "nonlinear"?
I've read this thread with interest, having sympathy for both points of view.
I read that any waveform, no matter how complex or asymmetrical in shape, can be replicated via an infinite Fourier series of sine waves. That's awesome IMO, and describes a way to mathematically digitize our electrical music signals.
But when I consider how that sine wave set forms electric signals that sumtogether into analog, and the ensuing movement of a physical driver, I quit thinking about Fourier and sine waves.
I see and hear a driver moving in a way that doesn't appear to be any combination of periodic repeating waves. Yeah, I know the math says it can be represented by an infinite combo of sine waves, but we don't have 'infinite' to work with (which may be of little importance), and the physical driver only responds to the summation (which appears to be of significant importance).
Bottom line on seeing both sides IMO:
Put one of the Falcon Heavy takeoff or landing youtubes on.....watch the violent irregular and asymmetrical cone action on your sub...I don't think the sub cone cares when I tell it not to worry because the signal is only made up of sine waves ...it just wants to SURVIVE
I figure I'm on the side of the sub...who cares about the nature of the signal, other than finding one capable of handling transient excursions..
I read that any waveform, no matter how complex or asymmetrical in shape, can be replicated via an infinite Fourier series of sine waves. That's awesome IMO, and describes a way to mathematically digitize our electrical music signals.
But when I consider how that sine wave set forms electric signals that sumtogether into analog, and the ensuing movement of a physical driver, I quit thinking about Fourier and sine waves.
I see and hear a driver moving in a way that doesn't appear to be any combination of periodic repeating waves. Yeah, I know the math says it can be represented by an infinite combo of sine waves, but we don't have 'infinite' to work with (which may be of little importance), and the physical driver only responds to the summation (which appears to be of significant importance).
Bottom line on seeing both sides IMO:
Put one of the Falcon Heavy takeoff or landing youtubes on.....watch the violent irregular and asymmetrical cone action on your sub...I don't think the sub cone cares when I tell it not to worry because the signal is only made up of sine waves ...it just wants to SURVIVE
I figure I'm on the side of the sub...who cares about the nature of the signal, other than finding one capable of handling transient excursions..
Overly add stuffing to a ported box and leave the port open. This will be the best for the 75Hz-120Hz. Once you find the kick drum does not lie in this region for the kick you know the quality comes from the "crushing" sound when added to the other stuff (brightness, extension and the accompannied snare shot at the begging of the transient).
fwiw, here's Tune-Bot's drum tuning frequency guide with lowest suggest frequency for a 24" bass drum 49Hz/74Hz (batter head - resonant head)
http://tune-bot.com/tunebottuningguide.pdf
(I've seen a spike at ~23Hz on a 26" Lugwig drum laying around my house - it may have been tuned lower than practical- ?)
The old Karlson box is pretty effective - system tuning: upper 40's, near-cone null ~37Hz - very little cone movement with lower mass 15" on kick or toms (<1/2 reflex of similar response/tuning) - Also there's some stored energy effects which may "enhance" . The little Karlson slotted pipe tweeter is very good with high hat and other cymbal overtones and spatial illusion.
I have a so-so little back loaded horn for 8" speakers - it sounds awful on drums as the mouth arrival seems late and subjectively out of phase with the cone's direct contribution. (it has "anti-punch)
My Klipschorns don't exactly sound right with drums either (partly the room's walls - partly time differences) - FH1 weren't great either.
http://tune-bot.com/tunebottuningguide.pdf
(I've seen a spike at ~23Hz on a 26" Lugwig drum laying around my house - it may have been tuned lower than practical- ?)
The old Karlson box is pretty effective - system tuning: upper 40's, near-cone null ~37Hz - very little cone movement with lower mass 15" on kick or toms (<1/2 reflex of similar response/tuning) - Also there's some stored energy effects which may "enhance" . The little Karlson slotted pipe tweeter is very good with high hat and other cymbal overtones and spatial illusion.
I have a so-so little back loaded horn for 8" speakers - it sounds awful on drums as the mouth arrival seems late and subjectively out of phase with the cone's direct contribution. (it has "anti-punch)
My Klipschorns don't exactly sound right with drums either (partly the room's walls - partly time differences) - FH1 weren't great either.
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There's some wisdom in what freddi says.
The Karlson box (quite resistant to being categorized), plays a number of instruments life-like like nothing else*. For example a cello and, who knows?, maybe a drum kit. And the reason for that, I think, is that a Karlson is more like a living breathing instrument, such as a cello, than other enclosures. I don't think I could pin down exactly why.
While some may wax lyrical about about "give me a lever long enough (or perfect enough in FR, phase, etc) and I can move the world" it just does not encompass nearly enough about reproducing recordings in your room or even, I bet, in an anechoic chamber.
You can't broadcast from two small boxes and expect it to sound real. It's just not like frozen orange juice where you add water and suddenly you do have something vaguely resembling orange juice.
For example, going to dipoles seems to make music much more real**. Just how does that fit into the "long enough lever" frame of mind?
B.
* yup, I had a K-15 in 1957
** helps disguise the source, you read it here first
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re:"K15" its good on vocals and sax too - great on bowed/slapped bass -great on harpsichord - "slam" unmatched for its size with say 1/8" peak to peak movement on a transient. Jaw dropping transients with relatively little cone movement (flea watt amps do not apply - it takes some power in to get power out) I have at least a half ton of horns - but a full ton of respect for the old (1951) K15 Karlson coupler.
K12 can be quite good too - more relegated to working 80Hz upwards
K12 can be quite good too - more relegated to working 80Hz upwards
Whilst the room is certainly a limiting factor, the OP asked for "a set of loudspeaker performance characteristics which define the technical requirements necessary to be achieved for the correct delivery of the timbre, response and dynamics of real percussion instruments" which is a bit verbose, but if it's simply taken to mean what does the speaker have to do, then, what else does it have to do besides be able to produce a flat frequency response at a sufficient sound pressure level?
There is a big "amplifier related" problematic. Make an infinite baffle without suspension (just something to hold the cone centered), make it as light weight as possible, EQ and finally apply an current driven amplifier with very high sensibility. Thus you attend to every OP demands. But a single speaker cant do that. It will never do that all alone.
One characteristic I consider supreme at selecting listenable music is reproducing it via a JBL Charge 4 and if its sounds full the music is ok. Now look the Charge 4 has just 1 pair of speakers of a same type, and has passive radiators. These, I mention, are workable bias for the one speaker of choice you want to perform.
One characteristic I consider supreme at selecting listenable music is reproducing it via a JBL Charge 4 and if its sounds full the music is ok. Now look the Charge 4 has just 1 pair of speakers of a same type, and has passive radiators. These, I mention, are workable bias for the one speaker of choice you want to perform.
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