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#1
Posted to rec.audio.high-end
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The circle of confusion
On Nov 9, 3:26=A0am, Kalman Rubinson wrote:
Maybe we need Dolby to lay down a loudspeaker spec for stereo sound? The complication is specifying the room as well as the equipment. Without that, equipment specs are woefully inadequate. =A0 Modern DSP technology is already able to fix around 90% of this problem I believe. Already cheap A/V receivers available for under $500.00 contain reasonably effective room and speaker correction chips. Oh, btw, I do not believe that the BBC actually manufactured the speakers, other than the prototypes. =A0Manufacturing was licensed and tightly controlled. That agrees with my memory. Part of the control specifications was that if one speaker in a stereo pair failed one should be able to drop in a randomly selected unit and experience no degradation in the stereo performance. And that was to be true of units manufactured by different licensees. |
#2
Posted to rec.audio.high-end
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The circle of confusion
On 9 Nov 2009 23:05:23 GMT, Ed Seedhouse wrote:
On Nov 9, 3:26=A0am, Kalman Rubinson wrote: Maybe we need Dolby to lay down a loudspeaker spec for stereo sound? The complication is specifying the room as well as the equipment. Without that, equipment specs are woefully inadequate. =A0 Modern DSP technology is already able to fix around 90% of this problem I believe. Already cheap A/V receivers available for under $500.00 contain reasonably effective room and speaker correction chips. Yup. What I was suggesting could ride on that. The built-in routines have a target curve which is flat or some calculated curve based on assumptions related to movie/theater acoustics. This, clearly, does not help a lot with music. Adding a target on the distribution (medium, disc, download or other) to match the playback acoustics to the studio or concert venue acoustics would serve all. Kal |
#3
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#4
Posted to rec.audio.high-end
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The circle of confusion
On 25 Nov 2009 00:30:51 GMT, ScottW wrote:
On Nov 9, 4:07*pm, Kalman Rubinson wrote: On 9 Nov 2009 23:05:23 GMT, Ed Seedhouse wrote: On Nov 9, 3:26=A0am, Kalman Rubinson wrote: Maybe we need Dolby to lay down a loudspeaker spec for stereo sound? The complication is specifying the room as well as the equipment. Without that, equipment specs are woefully inadequate. =A0 Modern DSP technology is already able to fix around 90% of this problem I believe. Already cheap A/V receivers available for under $500.00 contain reasonably effective room and speaker correction chips. Yup. *What I was suggesting could ride on that. *The built-in routines have a target curve which is flat or some calculated curve based on assumptions related to movie/theater acoustics. *This, clearly, does not help a lot with music. *Adding a target on the distribution (medium, disc, download or other) to match the playback acoustics to the studio or concert venue acoustics would serve all. Kal If someone calibrates their room response to a standard....then wouldn't it be up to the recording to replicate the venue response? I don't see why a new target curve is required with each recording. Mixing/mastering studio acoustics s vary nearly as much as home systems. In order to make certain that the standard room response was, in practice, used in the production and to correct for any disparities, a target curve or shaped noise pulse would allow for local adjustments. Kal |
#5
Posted to rec.audio.high-end
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The circle of confusion
On Tue, 24 Nov 2009 16:30:51 -0800, ScottW wrote
(in article ): On Nov 9, 4:07=A0pm, Kalman Rubinson wrote: On 9 Nov 2009 23:05:23 GMT, Ed Seedhouse wrote: On Nov 9, 3:26=3DA0am, Kalman Rubinson wrote: Maybe we need Dolby to lay down a loudspeaker spec for stereo sound? The complication is specifying the room as well as the equipment. Without that, equipment specs are woefully inadequate. =3DA0 Modern DSP technology is already able to fix around 90% of this problem I believe. Already cheap A/V receivers available for under $500.00 contain reasonably effective room and speaker correction chips. Yup. =A0What I was suggesting could ride on that. =A0The built-in routine= s have a target curve which is flat or some calculated curve based on assumptions related to movie/theater acoustics. =A0This, clearly, does not help a lot with music. =A0Adding a target on the distribution (medium, disc, download or other) to match the playback acoustics to the studio or concert venue acoustics would serve all. Kal If someone calibrates their room response to a standard....then wouldn't it be up to the recording to replicate the venue response? I don't see why a new target curve is required with each recording. ScottW And that seems to be the problem with some of the ideas for standardization put forth in this thread. To many people here just don't understand. |
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