With measurement equipment. It's been done for years. Doesn't always get published, but it's done.
Just as a trivia point - the shots of the camp P.A. horns were done as a pick up shots after the main shooting. Apollo 11 or 12 was on the moon that can be seen in some of those shots.
No fireworks here, alas. We're in a severe drought and there's a huge fire hazard. The municipal shows have been postponed until December. They'll be fun to record...
Thanks SY ......🙄
Sorry i dont classify such as dynamic testing, they are all derived from static testing IMO and tells us very little when reproducing something as dynamically complex as sound/music...
Sorry i dont classify such as dynamic testing, they are all derived from static testing IMO and tells us very little when reproducing something as dynamically complex as sound/music...
If that's not "dynamic," there's no such thing as "dynamic."
Your assertion that these dynamic methods are "derived from static testing" is incorrect.
Your assertion that these dynamic methods are "derived from static testing" is incorrect.
Sy,
When you clap your hands or listen to a drum set being played is it frequency static ? When you test using " MLS" are we measuring the speaker from 20-20k all at once. What does the FR/thd/ et al look like at 12k when the same speaker system/amp is being bombarded with 60 hz/200/400 all at once.
I know of no speaker testing tool that allows me to look at the system 12k response while driving it with multiple random frequencies and magnitude, as it would in the real world ..
When you clap your hands or listen to a drum set being played is it frequency static ? When you test using " MLS" are we measuring the speaker from 20-20k all at once. What does the FR/thd/ et al look like at 12k when the same speaker system/amp is being bombarded with 60 hz/200/400 all at once.
I know of no speaker testing tool that allows me to look at the system 12k response while driving it with multiple random frequencies and magnitude, as it would in the real world ..
That's exactly what impulse and MLS are. I urge you to read about those basic methods.
That's a static measurement. Perhaps the problem is understanding what "static" and "dynamic" mean?
That's a static measurement. Perhaps the problem is understanding what "static" and "dynamic" mean?
Sy
I did not describe such as static, opening and closing a gate is static testing , guess i'm not expressing this correctly....
🙁
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"Static" means steady state, e.g., a tone or set of tones that are run continuously during the measurement. "Dynamic" means variable input, for example an impulse or MLS. For that matter, you can use a musical signal in dynamic analysis, but it is far less challenging for the DUT than other stimuli.
Assuming electronics with minimal phase shift, you can do a differential measurement between the input and output using music or any signal(s) of your choice. The sensitivity can be far greater than any human ear, under any conditions, can possibly detect. No idea how to do this with speakers though. 😕
As for 24/196, I can hear a difference, but it's very slight, certainly not enough to affect my enjoyment or perception of the music. It falls into the group of minuscule effects only audiophiles worry about. Whatever magic is or isn't present on my LPs, seems to be perfectly preserved when I record to CD at the standard bit rate. In my system at least, the problem usually comes down to source material. Badly made CDs and LPs will never sound good, but there are certainly examples of excellence in both formats. If the system isn't satisfying, there's invariably something wrong- impossible-to-remove gunk on stylus, oxidized RCA connectors, bad component buried somewhere or something, but always findable and fixable without resorting to unknown and mysterious explanations.😛
As for 24/196, I can hear a difference, but it's very slight, certainly not enough to affect my enjoyment or perception of the music. It falls into the group of minuscule effects only audiophiles worry about. Whatever magic is or isn't present on my LPs, seems to be perfectly preserved when I record to CD at the standard bit rate. In my system at least, the problem usually comes down to source material. Badly made CDs and LPs will never sound good, but there are certainly examples of excellence in both formats. If the system isn't satisfying, there's invariably something wrong- impossible-to-remove gunk on stylus, oxidized RCA connectors, bad component buried somewhere or something, but always findable and fixable without resorting to unknown and mysterious explanations.😛
I think affordable digital audio still has a long way to go personally...
I have both Audiophile 2496 internal soundcard and Quattro external USB interface (both made by M Audio) and in either case a recording made from a vinyl record sounds nowhere near as good as the original.
I have also made live recordings of acoustic material in which I have used a "Y" lead from the mixing desk and split the output off to both digital recorder and analogue reel to reel at 15 IPS. The analogue sounds much better than the digital upon playback! It has "space" "air" and perspective to it that the digital merely hints at.
I have both Audiophile 2496 internal soundcard and Quattro external USB interface (both made by M Audio) and in either case a recording made from a vinyl record sounds nowhere near as good as the original.
I have also made live recordings of acoustic material in which I have used a "Y" lead from the mixing desk and split the output off to both digital recorder and analogue reel to reel at 15 IPS. The analogue sounds much better than the digital upon playback! It has "space" "air" and perspective to it that the digital merely hints at.
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