M. Fremer: "The result is that the stylus reads one side of the groove before the other. This problem gets exacerbated the further towards the center of the record the arm travels, resulting at the very least in gross phase distortion."
Are we speaking about tracing error here?
Klaus
I think this figure (which is from an old article in Audio Magazine) shows what J.R. meant: the cutter travels on a straight line (= dotted line = radius) towards the record centre, so the line connecting the two points of contact is coinciding with the radius. For other shapes this may no...
Living room of 8.5 x 4.6 m, acoustic ceiling (stretched synthetic fabric, 26 cm air space above, loosely filled with rock wool).
CeilingAbsorption coefficients
0.72 (125Hz)
0.65 (250Hz)
0.71 (500 Hz)
0.75 (1 kHz)
0.84 (2 kHz)
0.94 (4kHz).
https://www(dot)plameco(dot)co(dot)uk/
It's approximately 3 dB.
T. J. Schultz, “Improved Relationship between Sound Power Level and Sound Pressure Level in Domestic
and Office Spaces,” Rep. 5290, American Society of Heating, Refrigerating and Air-Conditioning Engineers
(ASHRAE)
Klaus
Well, I think that if you put the same drivers and Xover in a larger cabinet while keeping everything else constant (bass cabinet volume, location of drivers w.r.t each other) and place it such that the drivers are in the same location w.r.t. the room boundaries, then nothing changes. If you are...
Schroeder examined the following statistical quantities of the frequency response curve of "large rooms": the rms response fluctuation, the average height of a maximum, the mean spacing of the zeros (i.e., the intersections of the response curve with the mean level), the mean spacing of the...
The only room related parameter is reverberation time, the possible effects of early reflections and room modes depend entirely on the positions of loudspeakers and listener. In view of this there is no such thing as acoustics of a room.
In a larger room early reflections may come from...
Hello Duke,
have been abroad for a while with no internet connection.
Happy New Year to all.
Your effect is based on a first ceiling reflection, with the other first reflections being weakened by narrow dispersion speakers, Blesser is talking about reverberation. Two different issues.
If...
Since the proof is in the pudding I put this issue to the test many many moons ago and posted the following on Audio Asylum:
Dustcover open or closed, should your TT happen to have one, that is a question that regularly comes onto the table for discussion.
I think that we all agree that a TT...
The argument is that you don’t perceive the last/late part of reverberation anyway because it is masked by the music being played continuously. You only would hear reverberation fading into inaudibility when the sound/music is stopped suddenly. From Blesser 2001: “In continuous music, only the...
Hello Duke,
From Everest 2009, p.153: “Reverberation time (RT) is a measure of the rate of decay of sound. It is defined as the time in seconds required for sound intensity in a room to drop 60 dB from its original level. This reverberation time measurement is referred to as RT60. The 60-dB...
Hello Duke,
Some research has been done to investigate the effects of directivity, see my write-up. Kaplanis et al. indicate that his issue might be subject of further research.
Only first order reflections are/may be of importance, higher order ones are too low in level to have an impact on...
I think the following phrase in the section "Conclusions" very nicely sums up the paper: "The analyis indicated that rooms decribed by lower RT are preferred."
So it's all about reverberation time, and it's all about preference. Preference is no subject to discussion, your preference is a...
I’m not dismissing all listening as irrelevant in absolute terms, it obviously is relevant for the individual(s) in question. I consider listening results of others not relevant for me personally because of different pinnae, different listening conditions, different tastes etc. What sounds good...
You don’t know the external conditions (room, audio components, set-up, music material, level etc.) under which other individuals have auditioned a particular component. Even when you know someone with identical pinnae these external conditions may be too different to rely on this someone’s...