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Blackmorec

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  1. You guys have more patience than Job AND his mate Workshy I guess its like my wife used to say, “patience comes to those who wait”
  2. Errrm yes, I bought mine quite a while ago. How about ‘My Product of the Last 2 Decades’ ?
  3. For my product of the decade I pick the Finite Element Pagoda Master Reference Rack. It makes anything it supports sound better, requires no adjustment once set-up and looks better as it ages. Its sonic signature is clarity, purity, naturalness and transparency. Unfortunately it’s no longer in production.
  4. Are those the ones with the yoghurt cooled voice coils?
  5. I think its an easy question to answer. Do you want to spend your time listening to music or evaluating mother boards, CPUs, RAM memory, disc drives etc., then troubleshooting and optimising the results of your labours? Do you want to spend money to save time or spend time to save money? If your hobby is building hi-fi equipment, go the DIY route. If its listening to music go 'off the shelf' Alternatively if you have skills and knowledge and you want to save money, go 'off the shelf'
  6. During the original recording, sounds with sufficient amplitude will travel from their source to the venues’ walls and ceiling, reflect and travel back to the source...with a delay (for the distance travelled), a drop in amplitude (due to sound waves expanding) and a shift in frequency spectral content (due to absorption of high frequencies). When the brain receives those late arriving reflections with the correct ratios of time, amplitude and frequency it uses them to create the illusion of the venue, in exactly the same it would were it in the actual hall.
  7. Here you go! https://open.qobuz.com/track/61236337 I would put your sentence the other way around; if you have music that sounds like its being played in a concert hall, then you must be hearing music with a decay of >1.5 seconds. Entirely feasible and logical. The concert hall is in every case an illusion, but one created by the recording via some sound waves at the correct time and amplitude and with the right spectral content.
  8. I I think synergy is more than that. A system that doesn’t call attention to itself doesn’t sound like an aspiration. Synergy is when the performance of 2 or more components complement one another such that the performance of all components is markedly improved. In the flesh, synergy should result in a $5,000 system outperforming an average $20,000 system. The numbers are irrelevant but the principal is that synergy elevates performance to a new level not generally achieved by the same components in non-synergistic systems. Synergy is most usually discovered experientially where components are tried together and the resulting sound is far better than the components are generally known to produce in other systems.
  9. In terms of a sound stage, it really all depends on where your brain is taking its cues from. If the clues are coming almost exclusively from direct sound from the speakers then the brain will build a soundstage based on the phase (timing) and relative amplitude of the sound reaching each ear. If a lot of the sound reaching each ear is coming from the room via early and late reflections, the brain will have more information to deal with and conflicts in time and phase, so its job becomes that much more difficult and the soundstage loses clarity, focus and depth. In an ‘ideal’ set up where early reflections are within our echo threshold and late reflections are diffused, the centre image should be equally as strong as anywhere else in the soundstage and the soundstage itself should be a reflection of what’s on the recording rather than being defined by the room and speakers, simply based on the fact that the room and speakers let you clearly hear what’s on the recording instead of clouding the issue with a lot of extraneous reflections that mask the critical information. Essentially when room interference is kept to a minimum and you receive all the ‘ambience information’ from the recording, the brain will combine the phase (timing), amplitudes and recorded venue reflections with their timing and amplitude drops and use all this information to reconstruct the recording venue in your mind. This isn’t imagination, its just utilising how your psychoacoustics process works. Regarding moving around in the room or sitting in an asymmetrical position: Your brain receives information and processes it. It uses phase (time) and amplitude to build an ‘image’. If the phase and amplitude change, the brain builds a different image. The brain doesn’t know what sound is ‘suppose to sound like’, beyond using memory pattern recognition to identify the likely source i.e violin, trombone, sabre tooth tiger. it only knows about the vibrations reaching each ear. It doesn’t have the capability to sense vibrations and change their timing and amplitude to fit some sort of ‘internal calibration’, a kind of internal DSP. If it did that then you could never trust what you hear and your ‘direction finding’ sense would be fatally flawed. Hearing is a finely tuned survival mechanism that’s been refined over millions of years. In nature, every single sound is a point source, so our hearing and brain hear that point source and give it a location based on the phase and amplitude differentials between the 2 ears. Within the last 100 years, we invented stereo, which manipulates sounds by giving them 2 sources, utilising the brains ability to differential the 2 signals and indicate location. The double source only occurs in stereo, nowhere else, so the brain has had no opportunity to evolve any spacial mechanisms to correct stereo signals! Getting back to the hole in the middle....its not actually a hole in the middle, its a failure of the brain to properly reconstruct the soundstage, based on the information it gets. This will happen when the actual clues coming from the 2 loudspeakers don’t provide the right information i.e when the brain no longer sees a relationship between the sounds reaching each ear. For example, if the speakers are too far apart, the brain senses the differential amplitude and phase and concludes that they’re coming from 2 different sources, left and right and positions them thus. The goal of stereo is to ‘fool’ the brain into believing that 2 separate sounds actually emanate from a single source. If the brain judges that to be impossible, based on the soundwaves received, what you’ll hear is sound from 2 sources. Thus processed, there is no centre image, as there’s no ‘illusion’.
  10. Recording engineers typically expect their work to be replayed in an average room with a reverberation time of 0.3 -0.6s. Such a room would therefore be neutral, given that’s what the recording is equalised for. A anechoic chamber has an RT of ca. 0.1s and would sound quite dead and lifeless.
  11. Just to make sure we’re clear on what you can get from 2 channel recordings, what we should be aiming for is a set-up that gives a soundstage as big, small, deep and high as whatever is on the recording. If the recording is well made in a large, very reverberant hall or church, when you listen, eyes closed you should be in that hall, with all the space to the sides and back and the appropriate height. Why? Because you should be listening to the recording and all its ambient clues and not your room. Your room should ideally be neutral in the equation, adding and subtracting nothing, just getting out of the way. The soundstage and all the instruments placed in it should be cohesive and contiguous, with absolutely no left, right and centre emphasis, just a large acoustic space full of 3 dimensional instruments and vocalists. It should sound like the instruments are solid, 3 dimensional entities with their own acoustic and reverberation. Notes should decay in a direction within the soundstage....the start of the note should often be percussive, followed by a blooming and a decay. Some notes will decay to the sides, some will decay towards you and some will decay upwards. Some recordings have breathtaking, room filling soundstages with music flying around all over in a highly cohesive manner. The air within the soundstage will often have physical presence and texture. All the above is entirely possible using 2 stereo channels and 16/44.1 redbook files or LPs
  12. I like the polite tone and I like the discussion, so I’m going to reward you by disagreeing 😁 Politely disagreeing. In terms of cables, what about Echo, NEXT, FEXT and all the other problems related to impedance, cross talk, conductor interaction and radiated EMI and RFI? Do they have no effect of how the ultimate signals sound? They certainly will effect what comes out of the end of the cable I would have thought.
  13. With respect Marce, that shoe fits the other foot equally well. Personally I have no desire to fight or argue with anybody, and i really appreciate solid technical input in a discussion, but the scathing and personal remarks that typically accompany some posts (always from the same individuals) are a. Unnecessary b. Impolite c. Childlike. I say childlike not as a judgement but in recognition of the ego state that generates those replies, where the goal is to elicit an equally impolite reply which can then be roundly and sanctimoniously condemned. Pretty much what is currently happening to a certain forum member right now.
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