|
Planar Speaker Asylum Welcome! Need support, you got it. Or share your ideas and experiences. |
|
|
|
Planar Speaker Asylum Welcome! Need support, you got it. Or share your ideas and experiences. |
|
In Reply to: RE:Viewing adjusting the Stereo content of a signal when mastering posted by Satie on September 23, 2016 at 13:29:16:
"Does the dynamic editing produce the same kind of pumping artifacts the DBX units did?"
I used the 3BX because it did a fairly decent job by breaking the analog processing into three different frequency bands. With Ozone, you have a lot of control over four different user adjustable bands - and you can take a sample and immediately hear with and without. Of course, you can use settings that have unwanted effects, but, especially with impulses, the restoration of an extra 5-15dB of dynamics is much more realistic.
"The problem I have with the digital image steering or soundstage editing is that localization is largely a matter of transients on the order of 10s of microsecs (not millisec) and requires some resolution into the single microsec range to preserve. We localize these to within 0.5 degrees while we localize sine waves only to 5-15 degrees in the lateral arc. Those can be represented effectively at 24/96 with some loss of info. and more completely with 24/192. But only DSD and double DSD really capture the short transients entirely. "
I work in 24/96 most of the time. I'll upsample a CD to that setting and my vinyl recordings are made at 24/96 most of the time. Transients that are broadband are important, whether you can localized them to 5 or one degree is really a factor of a lot of things (System and Room response, first reflection echo level (low is good) and first reflection frequency deviation from initial arrival, for instance. As you state resolution for tones are less precise - mainly though because of the nature of signal of the tone - with an intermitant tone, as we find in music, having a sin(x)/x envelope so that the frequency content doesn't have the bandwidth to cover the mid frequency and high frequency wavelengths to excite phase (timing) and diffraction (frequency) based localization cues to the brain.
You are right - and this fact is often ignored by audiophiles - that the Spatial qualities vary dramatically from recording to recording - usually a result of the choices made by the producer/engineer. But the differences you notice in LP vs CD can be caused by a number of artifacts. Remember your brain is trying to reconstruct a form of reality from the "un-real" acoustic signals that make up the recording - as well as added artifacts caused by digital mastering (44.1kHz, dithering techniques) and your system and room responses.
"The hardest thing of all is to find a black cat in a dark room, especially if there is no cat" - Confucius
This post is made possible by the generous support of people like you and our sponsors:
Follow Ups
- RE:Viewing adjusting the Stereo content of a signal when mastering - BigguyinATL 06:29:21 09/28/16 (0)
Top of Page ]
[ Contact Us ]
[ Support/Wish List ]
[ Copyright © 2024, Audio Asylum, all rights reserved ]
