first, every conventional speaker is omni in the bass so peaks and dips in the bass have nothing to do with the topic discussed here
second, what echoes? Are You another guy living in a bathroom??
Hey! How many of You bathroom listeners are there? Dare and come out! 😉
so what are You talking about? Do You know RT60 of a typical room? I assume You know what RT60 is?
It is not my intention to be offensive in any way!
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Joined 2009
I'm a closet listener 😀
Look, I'm saying room reflections shouldn't be a problem unless you are playing really loud. Any speaker sounds different in a room and outside.
Look, I'm saying room reflections shouldn't be a problem unless you are playing really loud. Any speaker sounds different in a room and outside.
that's a good question! let me qualify it a bit though:
"What reflection pattern is desirable in available sound recordings reproduction in a typical listening room and how can it be achieved"?
So you are touting the benefits of a speaker that radiates in all directions, yet you seem agitated by the notion that sound that radiates in a direction other than directly toward your ears is largely reflected from other surfaces?
If you placed an omnidirectional speaker in an anechoic chamber, wouldn't it sound much like a standard speaker?
Is there some magic that I'm missing here?
Yes, it's the time necessary for a reflection to fall 60db relative to the original.
yes You are missing couple of points, truth is that in an anechoic chamber even complete ambisonic setup sounds crappy, totally in head, no space, are You surprised? Toole writes about it
reflections are simply necessary for natural perception of space
not precisely that but OK, for the sake of discussion, so what is RT60 of Your typical room?
100% homogene without any changes in SPL, rolled off frequency or anything, in any angle ?
but 4khz, I'm not sure that will be enough
Graaffff...it's in any earing physiology text with some variations following the authors (15 to 30 ms). Two different signals are blended if perceived in this fork, hence alterations of the tonality and of the space. The most difficult parameter to integrate in playback music is that it's a continuous flow, very different from the sine tests used in most of laboratories. Looks like the timing starts on a transient on witch the earing process locks on. For the sake of the discussion, we can assimilate this to a kind of Hass effect...
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I guess what it boils down to in the end is personal preference. I haven't heard an omni that I liked. Granted, I've not tried to build a "good" one (and perhaps I should try it) but the theory still sounds like coloration to me.
ok! so...
I can't really see the point - what's the point? Is there Haas effect or not? What does it mean?
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well, if I had to choose between unpleasant accurate and a bit colored but more nice sound, I would take the latter, absolutely
ofcourse within limits
luckily I don't have to make that choise any more 🙂
but I have been there, and for way too long 😱
ofcourse within limits
luckily I don't have to make that choise any more 🙂
but I have been there, and for way too long 😱
to make myself clear in that regard - I choose realistic
I understand high fidelity traditionally - in Hartleyan terms - as "realistic sound reproduction"
Don't be silly, there is no 100 % in acoustics. But +/-1,5 db in any direction for sure.
As I said - you too will not be able to prove that your system can do it above 4 kHz. 😱