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 (nobody)...and 171 guests Last 5 registered Oplandisks nothingstar N_loop yipe foxtrotromeo Browse members... |
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Members 8025Messages 2613408 Today 0 Topics 127499 |
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I'm not. what's your setup? do you spend a lot on equipment to listen to music? i wish i wasn't so poor. |
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i have a nakamichi 1000 tape recorded that i paid £100 for :-) it's in the attic though |
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I bet it sounds nice. I might build my own speakers |
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before my life fell apart i had adam a7 + sub8 + rme fireface 800. sounded absolutely amazing. i miss that stuff |
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fireface 800 is a lush bit of kit, as are the adams. never heard their sub tho. |
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it really completed the setup; the a7s didn't have enough on their own. learned a lot about bass back then |
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i never went further than buying sennheiser phone (hd25s tho so about 90 squid). on cheap temporary earbuds at the mo |
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I have HD25s, best purchase I ever made, i like their sound so much and that I can swap out whatever part breaks, they're such good value for money. |
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here's a little trick... if you want excellent sound, cheaper and are able to use your motherboard optical or coaxial out. ( i shall try to clear up so jargon type things...just for those who do not know and this helps when searching around) Every now and then new DAC ( digital to analog converters) and op amp (operational amplifier) IC/chips are made and small companies from china launch themselves into making small cheap units built around the chips / IC's (integrated circuits, aka micro chips i dont think people say micro chips anymore...IC/Intergrated circuit, lol. : ) so if you go to for example TI.com (texas instruments) you can look through all the opamps and DAC available at present. i can see from a search DAC IC called : PCM1794A THD+N: 0.0004% ( total harmonic distortion ) dynamic range ( means the noise is lower , lower is better) – 129 dB (4.5 V RMS, Stereo -132 dB (9 V RMS, Mono) I havent checked, but it is likely better than RME from 5 say years ago.Just a guess. RME may use analog devices not Texas Instruments ? I dont know. pto > |
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so now.. go to ebay and find a built unit, with PSU and chassis, ready to go, ...i see one from just 66 to 140 pound or more+. only on a quick search. o.k its not very very cheap. but it is one of the best converters chips in the world. built ready to go from a motherboard optical or coaxial out. you can then look at cheaper IC's/chips and get the best chip you can afford. These ebay units are made in china, using either TI or analog devices chips. in nice metal chassis/case get it even cheaper..> you can also buy a populated (built) PCB ( printed circuit board) without the chassis to get it cheaper, you could then fit the PCB (in a biscuit tin and have a psu laying around that would work or you can buy a PSU on ebay on a bid to get it all cheaper still. or even cheaper still, buy just the PCB then buy the IC's/chips and caps and resistors and solder yourself. also some of these units use what is known as dip slots for the opamps. so you can upgrade them later. here is the site to seek out the IC's http://www.ti.com/audio-ic/converters/dac/products.html also you can check the opamps too... pto> |
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opamps i see some of the best opamps in the world are... OPA2211A Low Voltage Noise: 1.1 nV/√Hz at 1 kHz THD + N: –136 dB (G = 1, ƒ = 1 kHz) or OPA161* Ultralow Distortion: 0.000015% at 1 kHz Ultralow Noise: 1.1 nV/√Hz at 1 kHz these opamps are only about 5 pound each. but if you consider a top of the line mixing desk can have hundreds of them. not all companies will choose them. and go for chips at maybe 60 cents. with more noise and distortion. but if you only want 1 or 2 of them ...you may as well get the best. check also Analog Devices website they are a competitor to Texas instruments for opamps i say this for those who want better sound....but cant afford an RME. and only really want stereo out and are not concerned with latency and can use an optical out. |
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r u a pedophile? |
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If you don't ask how old they are it's not a problem |
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are you auxperienced |
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buy yourself some JBL 305s |
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they look nice. how do they sound? |
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don't take my word for granted - just read ANY review of them online. in a nutshell - unexpected. for the longest time i was using some pseudo-hi-fi 2.1 speaker setups because i was convinced that you cannot get any proper bass out of <6.5" speakers but those >6.5" weren't imho sensible for a small computer desk. i bought them for testing to see what all the rave is about and i wanted to send them back if they wouldn't sound good. i played one song which i always play for testing bass - The Haxan Cloak - Mara. and they stayed at home. i now like to trick my friends into searching for the hidden sub because they can't believe it's coming from the speakers alone. there actually IS a dedicated sub for them as well, but costs as much as a pair of these and is imho overkill. these aren't even supposed to be very good nor advertised as such by JBL. |
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one thing though as with all "monitors" - those suckers don't lie. if something is recorded like shit, they will show it in all it's nastyness. there are certain records i enjoy less now after hearing them again in painful detail. |
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they are cheap and good, they also got updated recently unfortunately the bass comes from the back. so u can't put them in front of a wall :/ |
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if you record a fart on tape and play it on good monitors it sounds chocolate brown with a little hint of some of that silky creamy flavor |
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it sounds like you know a cool breeze on a summer afternoon... you almost feel IT hit your face |
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you can ALMOST smell it |
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on the subject i supposed the mention of acoustics is most twisted humbling subject of all cause almost all intuition presumtions almost alice n wonderland wrong. |
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weird too cause anyone questions anything in the optical realm regarding wave behavior/physics and there i s zero to no contestion. but somehow pressure waves and subsequent reproductive diaphrams suddenly take on this human interpretive world of their own. as if acoustics is still some sort of black art magic when in fact a few giants who stand on shoulders of now had things quite well path laid. dick heyser, schroeder (rip), beranek (rip), t shcultz, bolt b & newman, don/carolyn davis (rip), d'antonio, t cox, etc. |
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and just who was that chip davis guy anyways |
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russ berger and doug jones. just couple of ol' chaps i guess - nothing to learn from those guys either. |
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hey - remember that time that guy from jetproplabs invesnted that time energy freq thing that we all went on to use for sonar and radar and were able to actually understand time-domain perspective for indirect energy arrivals? and how so and so used that to modify a tool to do so in form of a 3d polar so we included vector direction, spectral content, and gain?? and then how one went even a bit further as to take such measurements from in-ear microphones (unheard of at the time) to actually take the measurement in conjunction with the transfer function from the artifical pinnae from the dummy head to measure real world HRTF? and who then went on to make the first binarual recordings used to subjectively test and verify accurate imaging in critical reproduction spaces? and even that bob jkatz guy got in on the actual because he understand the real world behaviors at play and how a quick subjective reproductive test with said filters could give a quick a dirty overview of the imaging charactistics of the loudspeaker + acoustical space end state behavior? |
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oh and just WHO was that geddes guy that came along a weeee bit later after all the sonar USN hydrophone beamforming action to develop the constant beamwidth tranducers? and patents for days to boot? |
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and that remember that time a wee bit later jbl came out with their production variant of the M2 that had controlled/constant dispersion FOR DAYYYYS and SPL/linear distortion characteiertics that could make any movie studio dynamics head implode. |
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my mentor had a few hamerred chats with me about a few heady ol' syn aud con days discussions where some old USN chaps sat well in the back unbeknowledest to anyone and slowly 1by1 surely started asking questisno about multi-path issues stemmed from low freq (vvvvvvvvvvvv low freq mind you) wave propagation and subsequent diffraction around continents (!!!). to be a fly on the wall in those days when LF sub/ssbn/boomer comm heads started showing up at your local audio get together greets. |
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you think these krk's with the cute yellow face include a nyquist plot? |
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that time that weird old dude from georgia tech showed us some weird stuff on the wall |
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remember that time you were in possession of hand written scanned diagrams of he-yser spi-ral analytic from the man himself? before you were even born? |
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remmeber in EE school where fucking nothing made sense until 8years later and you had hand written notes from these fucking gods that more clearthroughorly explained everything in a few brief 3d diagrams than 4 yrs of schooling did |
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is it ok to publush unplublished leo beranek notes from old eu concert halls on an excellent electronic forum yet ? |
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put em all up man |
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(ps - spoiler alert) - you dont want it |
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I know very little about acoustics outside of the basics. It's probably the most useful thing to learn about when it comes to listen to music, you can extend the quality of your equipment quite significantly in some instances simply by implementing the basics. I was looking up some plans for full range front horn speaker enclosures and some of them are very inventive in extending the lower range of the driver. |
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i like that they fixed the only gripe i had with the original 305s - the bright power led on the front |
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do you have any of the 3d diagrams? |
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its funny when the real over the top hardcore audiophiles who spend vast sums of silly money on stuff like vibrational isolated turntables are all over the age of 50 and probably have badly attenuated hearing, and they would probably get best results just from having their ears syringed |
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having said that yeah I like to have decent headphones, and decently encoded music, I'm a big fan of hearing remixed/retransferred music from the 70s and 80s sometimes the difference is really noticeable makes the music sound like it was recorded yesterday |
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"vibrational isolated turntables". mechanically decoupling is inherently imperative in any reprorudction system. i mean for turntables it should be obvious as most minute of vibrational transfers can amplify (ie footfall or subwoofer vibrations into floor into structure into table into turntable into needle into feedback loop). for loudspeaker it is important as you want to limit mechanicaal transfer of vibrations from vibrating loudspeaker diaphram into loudspeaker cabinet into loudspeaker stand into floor into any coupled surface which can then vibrate to produce and contribute to produce csound (tkx i dont want my floor to function as a speaker with its own inherent resnances and persistences of energy that wil exhibit itsself in CSD plot nor contribute as to the transfer of energy into neighboring adjacent spaces as to limit their anooyances). |
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but ya the expensive shit is expensive for a reason (ie people will pay for it so charge what the market is willing to blindly pay for no reason at all) and two fold lauhgable since there is zero published mechanical properties including that which common foam pads so commonly seen marketed to bedroom producers. i mean if i'm buying an automobile suspension i wouldn't blindly choose one for a jeep vs a mini cooper i would procure based on the actual characteristics and requirements on the chassis, weight, suspenion travel etc. same with loudspeaker mechanical decoupling where what is paramount is the natural freq (resonance) of the decoupling system being 2-5hz under the lowest frequency produced by the loudspeaker. luckily one can be dumb as rocks ands imply purcahse rbo thane feet/pads with the duro value appropriately selected based on the actual weight (per pad) of the loudspeaker/turntable/device that needs decoupling. wonderful material (neither liquid nor solid just visco elas polymer trasnfering mechanical vibration of energy into heat) and that is mfgr'd into a wide array of shapes sizes and applications. https://www.sorbothane.com/engineering-design-guide.aspx |
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I get the point if its a real necessity like archiving music to a very high degree, or perhaps if you live very close to a train tracks, some of the setups I see look total overkill, surely there is a law of diminishing returns with this sort of stuff, i.e. these people seem to fixate on things that generally don't have a massive bearing on how things sound |
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I must admit I am sort of ignorant on the subject |
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lol simple and well explained video about audio quality in digital formats. quite long though. |
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i mean sure people can fixate on things and other people can define requirements and utilize real world objective measuremetns to understand the pre modified state of the space, identify and isolate particular issues of acoustical distrotion (be it of mechanical, time/freq domain based, etc) - and subsequently design/procure/place/modify the space to mitigate attenuate resolve remove etc said issues. i mean sure yeah when you just blindly do stuff to do stuff then i can see how everything in the subject seems like a mess of dimishing returns but that's not really how acoustical engineers go about it so why bother discussing the myriad ways of doing things incorrectly |
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