Steve williams
Site Founder, Site Owner, Administrator
the head amp sounds better without coupling caps regardless of the unbelievable high price of the Duelund (which I was going to use)
the head amp sounds better without coupling caps regardless of the unbelievable high price of the Duelund (which I was going to use)
We will have to disagree on this one a bit too! Tone controls certainly increase detail, articulation, clarity and frequency response! Accuracy suffers do to some increased distortions (although minor), but everyone is so hyped about how bad bass and treble tone controls are that I can not believe it these days.
Tone controls were originally abandoned by the high end because the high end was looking to simplify the signal path, to reduce all added distortions, and no other reason. Ordinary folks laughed at philes who did not have the ability to crank up the bass or the treble to add...well, all the things you said they take away.
There became an audio cult obsession that one must not alter the signal, but funny enough, what did they do but alter the signal with never ending different amps, speakers,cables, interconnects, phone cartridges, blah blah.
If one was truly on the road to simplification then no one would be termed an audiophile unless they had the absolute lowest distortion gear (ie thd, imd, spectrum analysis across the band, etc, etc.),.....but that is not what is "audiophile" these days...its folks endlessly playing with different combinations of components to get the "sound" they want.
All I wanted to say was that you can get there easier with a well designed specific purpose tone control than changing out caps, etc.
All components add distortions, whether active, passive, linear or non-linear, at some level, and thus agreed with you that yes you can change the sound (and if you go the right way you can clean up the sound or not alter it as much by changing components in a circuit...that is the endless game the majority of the high end plays at).
When looking at the cap distortion chart, although of course accurate, look at the quality of caps being compared, in a good audio component you are not going to see electrolytic or tantulum caps in the signal path and the effects of audiphile quality cap distortions are pretty much all below 80 db and when playing music these distortions become harder...but not impossible...to hear. By the way, if you apply larger voltage levels than that 500mv then the distortion curves ramp upward...funny they did not show that!
As I have said before, all components, and ears and ear/brain interfaces are tone controls.
The question is, WHY is there a FEAR of implementing DELIBERATE PURPOSE DESIGNED sound alterations (ie bass and treble controls) to ones music when it would please one? Funny how the audiophile culture and norms can be swallowed hook line and sinker, but then again, cultures learned are accepted, kind of like religion.
My generation said...question everything...do your own thing...
Sorry for the pontificating, but seemed appropriate here.
Tom
Of course, judging by other comments you have written, we are not far off in theory at all, in fact few would consider tone controls of any sort, or implementing your sound enhancement system with the box and extra speakers...but I can dig that. I think my responses were more about terminology.
We be cool.
Tom
That's the key right there, if they do not add or detract from the original signal,they are the perfect capacitor. The straight wire with gain is acheived and zero distortion in the passed audio signal,with that all things are possible.
A phono cartridge will get ruffled when reading a large, sharp transient. A laser pickup has no way of knowing what kind of signal the lands and valleys it's reading correspond to. It is a series of 1s and 0s, and they are out of order too. They are picked up there and then reassembled in their proper order later. If a servo mechanism draws less or more current at any given time, the audio signal per se has nothing to do with it. People often confuse laser-read digital disks with turntables and cartridges. They have nothing in common.There have been many discussions about the servo mechanism that tracks the laser having an electrical effect on the environment inside the player by drawing surges of current from the power supply, etc.
That is true at macro level, but not micro. The power consumption of the servo causes power supply glitches. Those glitches can pollute the PLL circuit that is extracting and locking the clock from CD, causing the analog output of the DAC to change. Same occurs if the digital output is used.A phono cartridge will get ruffled when reading a large, sharp transient. A laser pickup has no way of knowing what kind of signal the lands and valleys it's reading correspond to. It is a series of 1s and 0s, and they are out of order too. They are picked up there and then reassembled in their proper order later. If a servo mechanism draws less or more current at any given time, the audio signal per se has nothing to do with it. People often confuse laser-read digital disks with turntables and cartridges. They have nothing in common.
Lack of live, dynamic percussion and drums in audio systems
Hello, caesar. Great question! If you will, allow me to ask a question back. Is this something that one would want to hear reproduced into a home setting? Personally, a cymbal radiating its energy in my living room would become deafening after some time. Perhaps presenting a ringing of the ear at the proper reproductive volume after just a short time....if the reproductive system were able to provide the realness of just said instrument. Would you want to endure it in your living room during a rock concert?Why don't more companies engineer that "realness" in the foundation? Is this an engineering limitation or an audiophile taste limitation?
First of all, it can be done in the living room right now. Quite easily: get a high quality horn system, drive with high quality, high power amps -- easy peasy! But some people will say, "but that sounds terrible: in your face, aggressive, screechy, couldn't live with it!!". Yes, because now you're getting real volume, real dynamics, and all those nasty low level distortions are now being rammed through your throat. Before, with your quiet, refined system they were invisible, too low in volume to be a problem: get live volume sound and they can't be ignored any more -- but there is a solution ... :b:bHello, caesar. Great question! If you will, allow me to ask a question back. Is this something that one would want to hear reproduced into a home setting? Personally, a cymbal radiating its energy in my living room would become deafening after some time. Perhaps presenting a ringing of the ear at the proper reproductive volume after just a short time....if the reproductive system were able to provide the realness of just said instrument. Would you want to endure it in your living room during a rock concert?
...
Point being, I do believe that compromises are all over the map when it comes to audiophilia. Certain aspects of the reproduction, one would not want in their listening room. Yet at the same token, things that can not be realistically achieved are seemingly yearned to be brought forth in the same system. Hence the conundrum of this hobby and the aforementioned opinions offered in this thread.
Tom,
There is so much in your post, I wonder if folks are really studying it. If folks would realize that we are far from reproducing a live event.....starting right at the recording medium.....
Nice link BTW.
Tom
I have hesitated to mention the L word (Loudness) because most people have a strong preconceived picture of what that is at least subjectively, maybe like how it was with subwoofers once, it’s mostly an incomplete view.
From the technical point of view, Mark hit on one key issue that separates live sounds with recorded sounds. Most folks think of loudness like the classic “VU” meter, VU meaning Volume Units fwiw.
That indicator was developed to roughly represent the subjective loudness in the dynamic realm. This IS NOT an indicator of actual loudness, just how loud it sounds.
It works because the meter movement integrates out he peaks to a large degree, the meter shows something like an average over some time. This was needed back in the days of tape where the dynamic range was very limited relative to now with digital, recording at but not above max was important for noise. Unlike digital, tape was not a brick wall at 0dB but could tolerate >0dB levels if short (making the distortion inaudible).
Switching away from the subjective to the operation and technical requirements;
If one looks at the instantaneous voltage from a proper microphone, one finds that many things produce very high but short peak levels. For example, throwing a table spoon on to a tile kitchen floor, produced a peak level of 134dB SPL, being in a car with the windows rolled up and then closing the door produced a peak SPL of 142dB SPL.
Now, these sound like “deafening” levels but because they are short, VERY FEW are aware they exist and instead associate “loudness” with the averaged SPL readings. Now, as Mark suggests, drums are VERY loud AND they do not contain the normal distribution of harmonics but are more like an energy envelope occupying a short time.
To make recordings that “fit” on to a records dynamic range or through AM radio, it was necessary to compress this kind of signal.
With the peak maximum level set by the equipment involved, compressing the dynamic range then makes the drum sound louder because it’s average level is increased. In the extreme, one has the sound of big cymbals on some pop recordings that are SO compressed they actually sound like a high hat or something else entirely.
So, while much music is processed so that it sounds pretty good through ear buds while jogging, even a good home system is often incapable of approaching “live” even when a recording of same is used.
To reproduce something trivial like the spoon hitting the floor, one can say well with Sound level meter set on fast, it produced a peak in the 90’s.
Or, one can say, well, on an oscilloscope, the peak microphone Voltage corresponded to a peak SPL in the mid 130’s.
With one way requiring about 10,000 times more energy and being similarly more difficult, guess which way the industry goes, which kind of system can be added to an elegant room without being noticed.
In the case of a drum, one must also reproduce a wide range of harmonics at the same instant which is an entirely separate "hard task" which gets more difficult the large the acoustic power is required.
Best,
Tom Danley
Danley Sound Labs
Here is a fun link to a "level indicator" which helps illustrate what a difference time makes. Look at your most and least dynamic recordings with it. Remember loudness and dynamics.
http://orban.com/meter/