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About opus101

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    Hangzhou, PRC

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  1. I take it you've not seen the AP plots from Exasound : https://www.thewelltemperedcomputer.com/Intro/SQ/GalvanicIsolation.htm
  2. Looking forward to part2 @Hopkins! BTW - realism isn't performers in your room, its you transported to the performance. That's because performers in your room would still have your room's acoustic space - by far not as interesting as the venue's acoustic.
  3. Are they using this ? USB high-end module
  4. Love his 150ft free-fall experiment. And he got it past the ethics committee. Respect.
  5. The way I parsed your sentence was different from your intent it seems. I took 'that' in your last sentence to mean 'the locations of the violins' whereas you intended it to refer to 'you cannot pinpoint'. No worries.
  6. I have visited concerts too and my experience concurs with yours. The 'instrumental separation' beloved of some reviewers isn't primarily about physical separation in the image, rather its about cognitive separation in our mind. The ability to follow the different musical strands (in ASA I think they're called 'streams') and switch focus from one to the other effortlessly. BTW - is there a missing negative in your last sentence - 'it wouldn't' ?
  7. To drift off into the realms of speculation, there might even be an objective measure of a system's accuracy judged within the framework of Information Theory. Wikipedia says in its article on Entropy (Information Theory) : The basic idea of information theory is that the "informational value" of a communicated message depends on the degree to which the content of the message is surprising. If an event is very probable, it is no surprise (and generally uninteresting) when that event happens as expected; hence transmission of such a message carries very little new inform
  8. It seems to me that the harmonies are determined by the composer not the producer. As for "point/counterpoint interplay" I am not clear what it can mean in practice. Care to elucidate more? Both are violins so will occupy the same frequency band. I see no way for a crossover to be sensitive to the 1st violin's frequencies in some way without responding to the 2nd's in the same way. Sounds like it could be a job for Maxwell's demon.
  9. How could the producer meld the two? I'm curious. What does 'separate the frequencies' mean and how could that impact the way perception decodes the components of the recording?
  10. Yes, but if we compare two components in the signal chain its reasonable to say which is the more accurate. For example if I'm listening on YT to Schubert's Octet and one DAC gives me distinct images of the first and second violins and allows me to follow their contributions at will but a second tends to blur those together then I'd say its reasonable to claim the first is more accurate (or more convincing).
  11. But I find that I agree with that. Spooky.
  12. If it suits your taste, go right ahead I'm not claiming its more accurate though.
  13. Sure they are, I used 'taste sensations' in my post.
  14. That's how I read it. Perception is reality.
  15. I used to be quite into wine, many years ago. Read plenty of reviews - I don't recall any saying 'Wow, this wine tastes like its really made from grapes' or 'I have never tasted grapes closer to real than in this'. Rather the reviews tended to talk about notes of musk or chocolate or blackcurrant leaves. So descriptive of the taste sensations, no talk of being 'real' flavours.
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