What measurements correlate with X?

[opus101]

When an object is moving away from the microphone what changes is the ratio of direct to reflected sound. So I'd guess if there's a floor bounce there's a chance that height could be decoded from the relative amplitude of direct vs reflected from the floor?

[opus101]

16 minutes ago, Audiophile Neuroscience said:

Mathematically speaking, we are dealing with a projection of three dimensions onto two, and this always entails loss of information.

 

I'm not sure this is correct, the situation seems worse (i.e. more difficult) for the ears than for the eyes. With our eyes, we construct 3D space from 2 (left and right retina) 2D sources of information. With the ears, there seem to me to be 2 1D sources of information.

 

ISTM that Daniel Levitin has it right with his ping pong balls and pillowcase analogy : https://www.newscientist.com/article/mg19726441-500-music-special-the-illusion-of-music/

[opus101]

1 hour ago, fas42 said:

How I find it works is like this ... the lower the the SQ of the electronics driving the speakers, the more the choice of speaker type, brand, model, and room acoustics matters, subjectively; the higher the SQ of that earlier part, the more one becomes oblivious of the speakers and room, and you only hear "what's on the recording" ... every time.

 

 

What he said. Electronics SQ can to some degree be characterized by how well it deals with the lowest level sounds - reverb tails, ambience cues. Introducing noise modulation (IMD by another name) corrupts these lowest-level details first (most particularly at the lowest audio frequencies) and the subjective result becomes : a recording which is known to contain plenty of ambience sounds less 'wet' or less 'warm'.

[opus101]

11 hours ago, jabbr said:

IMD is one of the non linear distortions that is not measured on the typical AP analyzer FFT. Inter modulation distortion is not the side band/harmonic spectra surrounding a pure tone rather depends on interactions between tones. Think about distortion/soundstage breakdown when too many instruments are playing at the same time. 

 

There is a slow move in the general direction though. Multitone tests (32 tones, nowhere close to real orchestral or choral music) have become more commonplace in recent years. AP had that capability even when I was in the industry (1990s) - its taken almost 3 decades for it to become virtually mainstream.