No toilet paper here in many of the shops. Another thing probably started by some crazy Facebook rumor.
I ordered one of those butt washer things today. Should be here in a day or two - I will have to figure out how to install it.
Will take me back to my days in Japan 😀
So, no problem with it being digital from the mic onwards and recorded, mixed and processed at 24/48 or 24/44.1? 😉
Pretty hard to screw up the acoustics of a small space. Even if you have a concrete room, say 12'x14'x8' a single human standing in it will add enough absorption to get the midrange reverb time to around 1.5 seconds. That would surprising to some not be horrible. Two people standing In the right place would actually be decent!
Of course add seating, carpeting and maybe even a doorway would be a nice space. Of course you still can screw it up with ventilation or other noise sources, a cube shade room, flimsy walls or even buzzing structures.
Virtually all important issues beyond most folks ability to change things.
Despite less surface areas (in numbers) to work on, smaller rooms are not easy to get it right.
The limits to small rooms are low frequency wavelengths, something best adjusted with a sledge hammer. Other option is a middle of the room angled bookshelf. Not much else to do unless you have a way to avoid parallel walls.
On this topic of small(er) rooms and long wavelengths: I've heard it said that it's not possible to achieve satisfactory bass in this situation since the lower frequencies will simply "fold over" or something, and pressurize the space. My question is, why is this a bad thing?
My listening room is 12 x 19 x 8.5 feet. I have 2 sealed subs, placed as optimally as I could figure out, then individually EQ'd at those locations. I have luxuriously smooth, powerful bass right down to 16 Hz. What am I missing here? 😕
My listening room is 12 x 19 x 8.5 feet. I have 2 sealed subs, placed as optimally as I could figure out, then individually EQ'd at those locations. I have luxuriously smooth, powerful bass right down to 16 Hz. What am I missing here? 😕
Thanks on behalf of Dr Z 😎.
I thought this test collection might be useful to you, there are tracks demonstrating bit depth resolution and phase distortion plus other useful and interesting/fun test signals.
Lol, as a Downunderian I somehow never thought of that there might be a North Pole High School as mentioned in the booklet pdf it turns out there is one in the town of North Pole, the City Hall is at 125 Snowman Lane North Pole AK.
No need to deal a lot with acoustics --- IF you listen near-field with controlled dispersion speakers to minimise room influence.
-RNM
A near field monitor is one that is design to be listened to in the
near field. Simple, eh?
The "near field" of a loudspeaker is area where the direct,
unreflected sound from the speaker dominates significantly over the
indirect and reflected sound, sound bouncing off walls, floors,
ceilings, the console. Monitoring in the near field can be useful
because the influence of the room on the sound is minimized.
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Once you ('ll) understand the infinite difference between the production [of sound] and the reproduction, you'll find that mentioning monitors is not meaning of anything, because you don't have to monitor anything.
The so-called room influence follows the same rule.
The so-called room influence follows the same rule.
Just dial the bass down and you are fine. A good listening room needs to be small, or very large. The average living room is just in between and so it is compromised from the beginning.
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Nothing, it is just one of those things people worry about. Can you have solid, low bass in the small confinement of a car? Sure you can, more than you like. In small spaces, all you need to do is compensate for room gain. Its is easier to get good bass in a small room, not more difficult, than in a large room. In the latter, you have to worry about standing waves. Which cannot form in the former.
Right, thanks . Tracks 9 to 16, 21, 22 are all related to the earlier discussed concerns about Fs, bit depth, dynamic range (also Tracks 2 to 7).
No surprises for me there regarding CD bit depth and Fs. They allow more than I can perceive.
Dynamic range that I can realistically hope for enjoying here is 60dB, hardly 72dB, no way above that, as per Track 22 test.
George
19' will allow wavelengths a bit below 30 hertz. Loudspeakers in the corners have the advantage of not just corner reinforcement but also the path length is increased by the diaganol of the three dimensions of the room. That would get down to below 24 hertz.
In practice any frequency above 75 hertz should be reasonably free of room effects.
Vaccy,
We are going to disagree on this one. Most of us have been next to a car with the windows closed and heard the sound system leaking lots of low frequency energy right out of the car. So it is really not behaving as a confined space.
I have been in radio "talk" booths and the lack of low frequencies is quite apparent. Not a problem for recording as the microphone is in the super near field.
As to the average living room... I suspect that varies considerably by location. Most of the houses around here have effectively three walls and Avery large opening to either the entry or dining room from the living room.
For my case yes.
Ambient noise determine the lowest discernible music content SPL.
Family/neighbours allowance determine the highest permitted SPL.
The dynamic range capabilities of the audio equipment chain exceed the above environmental-imposed dynamic range.
😀
That would be true, provided you set the lower limit that is to be audible. In such a case, you don’t have to go that extreme. Even a close-miked door slam requires more than 16bit DR.
I am only interested in playing back recorded music. The DR of (red book) music CDs can be higher than what I can attain at home.
This practical DR limit means that in the hypothetical case that a music performance is recorded in two versions A: content with DR of 70dB and B:content with DR of 100dB , I should pick the A so I can listen to it in one playback volume setting. If I chose B, I would have to raise the playback volume during the pianissimo passages and drop it during the crescendi.
Apart from the inconvenience, volume setting change during playback is aesthetically damaging to the music.
George