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07-07-2014 Post does not mapped to Knowledge Tree
Romy the Cat

Boston, MA
Posts 9,701
Joined on 05-28-2004

Post #: 1
Post ID: 21080
Reply to: 21080
The 3 things that audio needs.
A few days ago I had a discussion with an audio guy I know when we were trying to name audio things  that would be "nice" to be done in audio.  For sure the industry fools are trying to convince everyone and themselves that the audio "nirvana" is just a new amp away, or a new format away, or a new speaker away or a new cable elevator away....  Sure there are better or worst audio products they themselves do not change anything from a certain perspective. So, I wonder what audio product or audio idea  is IN YOUR VIEW does has a potency to change the things in audio? So, if you name the TOP 3 TRULY MEANINGFUL SUBJECTS that you would like to see in audio done than what would it be?

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
07-07-2014 Post does not mapped to Knowledge Tree

Posts 341
Joined on 07-05-2012

Post #: 2
Post ID: 21082
Reply to: 21080
I want to know why!
I think that we need some standard interfaces on our playback gear to log operating parameters. Temperature, Gm, current, voltage. On loudspeakers maybe temperature/impedance, for digital playback I would like to see jitter, correction, transcoding error when resampling. If this is a device, then relative phase between channels, maybe highest and lowest frequency reproduced - or as a spectral plot. Maybe boot cycle parameters too. Timers for things like tubes and phone cartridges would also be useful!
There could be some moron functions too like air velocity at the reflex port, horn gain, volume control position vs time, peak electrical and acoustic output as well as the compression factor.

All of this data of course could be manipulated to influence sales. Just imagine some software measuring the spectrum of your favorite music and then telling you that your $50K back loaded horn speakers do not have enough dynamic range...........
The log reader needs to be a stereo gear format piece of equipment.
Yup, this could be in a compact device for $50, $500, $5,000, $50,000.

Whenever I feel blue, I start breathing again.
07-08-2014 Post does not mapped to Knowledge Tree
Boston, MA, US
Posts 298
Joined on 06-02-2004

Post #: 3
Post ID: 21084
Reply to: 21080
Dr. Richard Heyser wrote:
I propose that the polarity convention of every part of the audio chain be identified and this information made available to establish the net polarity of the reproduced sound relative to the original performance... There is truly no aspect of the audio industry that lies apart from this first step in providing this information to achieve better sound.

-- Audio, September, 1979
07-08-2014 Post does not mapped to Knowledge Tree
Southern California
Posts 9
Joined on 10-23-2011

Post #: 4
Post ID: 21085
Reply to: 21084
Yeah, I could see this occurring in a recording studio...it could happen -- channeling Judy Tenuta ;-)

Very best regards,
07-09-2014 Post does not mapped to Knowledge Tree
Romy the Cat

Boston, MA
Posts 9,701
Joined on 05-28-2004

Post #: 5
Post ID: 21087
Reply to: 21080
Three cards, there cards, three cards....
His is my picked for 3 things that I would like to be done in audio. They are without any particular order of importance.

1) I would like industry to develop a coordinate system according to which Sound would be objectively evaluated and all sound efforts by any audio participants would refer to an objective reference scale. When I am taking about objectivity I do not mean a bunch of AES looser attacking sound with oscilloscopes and time-domain analyses. I mean very objective scaling of subjective perception of sound.  It is perfectly doable and there was some premature efforts done in the direction in 90s but it had to traction, not further development and now following. As the result today in industry the definition of "better sound" is a pure abstraction and very seldom has any relativity to anything that is important to  a real human being.

2)I would like the equation according to which we recognize "sound quality" was reveal.  We have too many environmental variables that on one way of another alter out perception of the same sound: electricity, mood, food, health, solar radiation and you name mean else. The point is that we do not necessary hear only by ears but by a complex compilation of sensors, some of them are not even understood by classic audio.  There were a lot of efforts made in this direction but there was no unified vision of how we affected while we are listening.

3) I would like industry in the end develop some theory that would explain "Where the 'it' goes?" We goes to a concert and if a performer is great and has something to express then we experience very interesting reaction to the expressed. The same event being recorded, even at the max possible resolution and whatever the Morons from TAS call "quietly" doe deliver kind of  interchangeable   Sound pressure in listening room abut very frequently has no 'it' in itself. In a contrary you can rent an ugly cargo track with horrible radio that produce appalling Sound and all of the sudden that terrible audio deliver to you a whole spectra of "it" and each single note that come from it you percive and the greatest concert of your live.

Romy the Cat

"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
07-10-2014 Post does not mapped to Knowledge Tree
Iran Tehran
Posts 221
Joined on 02-11-2009

Post #: 6
Post ID: 21088
Reply to: 21087
Objective reference
It needs 3 thing:
1. professional designer
2. professional listener
3. mathematical theory by a mathematician

my micro macro linearity theory is a theory for this subject but i think audio need powerful research in a right direction.
i think this is not easy because audio industry make more money with morons and this industry need no research. 
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