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In Reply to: RE: How to reproduce the full dynamics of a scissor cutting paper without clipping posted by tomservo on April 19, 2017 at 07:08:36
That's an interesting concept, and something that Richard Heyser was interested in, which related to the paradoxes between the quantum domain and our macro world. As you come arbitrarily more precise in one domain, for instance the peak voltage measured by a test microphone, you also become less precise in the average level of an acoustic event in the time domain, at least as far as this relates to the to the "big picture" of our subjective hearing perception. So a car door slamming inside a car can be 140 dB peak, but the time averaged level of a jet aircraft taking off at several hundred feet distance can also be 140 dB.
Back in the 70's recording engineers had to get used to the then-new peak reading VU meters on some stuff, as opposed to the old school ballistics of the more averaging old school VU meters. It was well known that a violin section for instance could be pushed into the red with peaks on the VU meter, but you had to be much more conservative with a close mic'd drum kit for another instance as the peak dynamics could go right past the standard VU meter. The peak reading meters allowed for less leeway by the engineer, but this paved the way for the forthcoming CD digital age in recording where overload had to be avoided at all costs.
And, what you're telling us "new" is that you've figured that out?
Good on you!
"forthcoming CD digital age in recording where overload had to be avoided at all costs." ------ Paul Eizik
Or the terminally stupid "loudness wars" where the dynamic range is compressed to only a 1 db variation at minus 1/2 db from "all bits on.'
That's another can of worms which has been discussed here before. While audiophiles who believe in an "absolute sound" have been trying to put more dynamic range into recordings by promoting speakers with a tonal balance noted by J. Gordon Holt as having a tilt towards the bass plus a treble peak, there were others in the popular music end going the other way by cramming in more average energy into the recording. Back in the days when the distortion wars were in full swing in the 80's, transistor amps appeared with THD figures into three digits below the decimal, and they were touted as having distortion so low it was beyond the ability of human hearing to detect it. At the same time the Japanese were building SET amps which had much higher THD but some said sounded subjectively more like real music, but you really had to have horns to get the most out of them.
"...there's always a counter force": Thomas Pynchon
A quick visit to a garage band with live drums should tell you all you need to know about the reproduction of live dynamics. Since the Blue Ray format easily accommodates 130 db dynamics (but very few, except AIX) seem to use it, having speakers like Klipsch Jubilees or Danley Synergy Horns should tell you all you need to know about REPRODUCING those dynamics.
Even though they do "sound good." Those overprice little direct radiator speakers are not designed to emulate live music. But then again, they don't have to for that application.
Owning horns is like having a 200 MPH+ car with 6 gears. You may never take them out of 3rd gear on normal roads, but it's nice to have the option to open them up on a race track once in a while.
Guys with direct radiators don't have that option.
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