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PeterSt
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« on: December 01, 2016, 02:54:29 pm »

Hi all,

The subject I have here at hand should not be new to anyone. But somehow it is for me and I expect the same (see below) may happen to others real soon as well.

Seemingly out of the blue I suddenly started to have problems with L/R balance of the sound, when moving from left to right and back at the larger distance. Mind you, in my room listening happens between 10 and 12 meters (33-36 ft) and I am used to be able to move from left to right for most of the width of the room, but say 6 meters (18ft) which by chance is the same distance as the speakers among them (heart to heart). The L/R beaming may change somewhat, but the general perception is that only the middle of the sound stage moves a bit along (you can almost apply normal math to see that this will be maybe half of a meter when superpositioned to where the sound develops right in front of the speaker).

I am still not sure when this started to change, but it is from the past month, and looks to be or the latest (one but latest to be honest) incarnation of the B'ASS or otherwise the Phisolator (but I'd say I did not have that in when this all started) and otherwise an expliciet XXHighEnd SQ change (aha !) which made it unbearable the past week or so.
So what am I talking about ?

Well, that suddenly two things at the same time seem to happen :
1. The bass is now so directional that when I face one of the speakers head-on I hear more bass from that speaker;
2. When I am moving for the larger part from left to right and back, the sound seems dead mono.

It is this latter which makes me post because It suddenly jumped to me that someone else was suddenly bothered by it - VJ. He solved it by a different toeing, although at this moment I have no idea how.

Never ever I would have gotten the idea that suddenly (!) a different toeing would be required, to solve something which have had been there. Still it sufficiently helps (more of that below).

On to the theoretical problem (well, as how I see it and scientific it will be not), I feel that this has to be related to an overly more pinpointed sound. I say "overly more" because all 'n all this is happening now - with all those upgrades stacked up. I am sure you will agree right away when you unpack all at your place (this counts for everyone and is not related to Orelo's - to NOS1 stuff yes).
Say that the level of not-fuzzyness was 6 out of ten (and random other DACs up to other players show 1 or 2 out of ten), then now it is 20 out of ten. OK, impossible, so 10 out of ten, but then drop the 6 out of ten to 2 out of ten first and have the other stuff at -6. Hips - oops
You won't believe it, but watch those hopefully soon coming boxes.

I "claim" something of the left and right now so much being equal that everything showing from left and right as equal indeed, comes dead from the middle. But hey, that is noooo good. Where the above is about mid-high, with the bass something else seems to happen : this is so strong that this won't blend when observed from the middle (but think that waves are too thick to form a virtual mid point source) and they remain beaming from the speaker (this may come across as a negative, but this is just how things should be (no matter you won't believe it when you never heard it) and is an explicit positive). But :
What now occurs is that *because* the mid-high stays dead in the middle wherever you are (and hey, you may perceive exactly this one as a positive while I now tell you it is not at all because dead mono - that bad) ... the bass detaches from the remainder once you are say in the right hand side of the room. You hear the bass from the right hand speaker, actually nothing much from the left hand speaker for bass, and the remainder of the sound is really dead in the middle.

Special Q sound applied !
Hmm ...

Of course this is not good.

I solved it by toeing out the speakers so much that they are almost straight now. Problem away from each angle (literally and figurative).
But how can this be ?

It feels like general accepted physics rules have been disobeyed. Or the rules need to change.
So as people may know, my hobby horse is eliminating standing waved by means of better quality of the wave, and this now feels the same - added more of good quality - while it was nog required any more (I already could not find a single standing wave anywhere in my room) and now --- yeah, what.

In the end there is no problem (really not) but the solution looks like a "hey, I created stereo with one speaker now !". Get what I mean ? Not really like that of course, but for starters try to envision how on earth one gets an act together where the bass of the other speakers is not heard at all (just move a bit to the right), which bass thus also not develops in the room, while 99,99% of audiophiles are very sure that bass comes from anywhere and e.g. one sub woofer really is sufficient. This now is so so much the opposite that it is too hard to believe to be true.

No matter interesting, the bad thing is that I can not explain it. So yeah PeterSt, your toeing should be carefully done always.
True.
But why is it suddenly needed after a super clear improvement of sound and details everywhere, in general ?
I now have something like "these upgrades must be so impacting that physics change somewhat".
Prrrt
But still.

... (brainstorm developing) ...

Back to the -6 rated D/A converters (sorry !) the sound is buzzing all over the place. This is the opposite of no standing waves and readily audible in the higher frequencies. This is why the literal "buzzing". Also try to see through that this type of standing waves happens almost everywhere in the room, because the frequencies are so short for wavelength. Repositioning the listening seat does not help.
Now who tells me that not the same is still going on when all has been improved to 2 out of 10 BUT it is observed as a rich sound. Not buzzing, but still energetic. Things bounce and it creates depth and width. Fake, but it does.
Left and right do not co-operate at all. They just quite randomly DSP the sound into more rich. We like it.
Now we make it 10 out of 10 and nothing bounces randomly. It is the super extension of PeterSt's standing wave elimination. All the waves which are the same from left end right now join and they form a coherent one mono sound.

The point of course is : to what degree was this left and right hence the middle really intended ? And if so, what actually causes the size of a human voice (mouth) ? Has it been tweaked in by the mixing engineer ? wasn't that needed because side walls reflected properly to begin with ?
Was it ever thought of because it wasn't necessary because playback did not require it, so to speak ?
What if playback would improve to 10 out of 10 ?

What possibly happened with my solution is that I toed out so much that I explicitly incurred for side wall reflections. These side walls are straight all right but far from evenly decorated (think cabinets and stuff) and that creates warbling again. Just enough so actual mono becomes stereo again.

sleeping

Peter

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« Reply #1 on: December 01, 2016, 08:46:47 pm »

Peter,

There is a lot of material on the Linkwitz website (www.linkwitzlab.com) on stereo perception, recordings, affect of reflections, etc.

I'm linking to the initial primer on stereo recording and reproduction for anyone who might be interested.  You are do doubt already familiar with all of this.

http://www.linkwitzlab.com/Recording/AS_creation.htm

Ramesh
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« Reply #2 on: December 01, 2016, 08:47:25 pm »

Moving speakers as little as 10mm can make a huge difference. I think we concentrate on all the other stuff and this is often the last thing we consider.

Robert
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« Reply #3 on: December 03, 2016, 12:10:26 pm »

All,

So Ramesh, the page you linked to from Siegfried Linkwitz I will be using to quote from. Now we all know what our context is, no matter that I indeed could state that I knew these things already. But it is exactly this fact which has my own context in the first post. So you can read back into that after reading this post here :

Other speakers may also be used to hear how the recording translates. This process must be called 'rendering the art', because it is unlikely that a person would have heard the same sound live. The performance, the art, is rendered according to the desires of the recording engineer, conductor and producer. The outcome of this process is misleadingly called 'The Recording'. In addition to the musicians and performers of the art it carries the signature of the people who made the specific 'recording'.

When the recording is played back in the home a listener is unlikely to hear a reproduction of what the mixing engineer heard in his studio with his monitors. He hears a rendering of the recording, which is defined largely by the on-axis response of his speakers and their illumination in 3D of his listening room and the room's acoustics. The recording studio acoustics are quite dead so that the direct sound from the speakers dominates what the recording engineer hears and uses for his mixing decisions. A home listening environment is much more live than a recording studio [...]

(emphasis in the above is mine)

This last sentence is correct in itself, but takes for granted in the first place the occurring reflections. This is what I claim is (unexpectedly for Linkwitz) not sufficiently enough occurring. And suddenly the room is as dead as the studio 's room.
I also (sort of) claim that the quality of the waves is so good that no warbling and such occurs among them, which is the additional effect of the too dead room.
When the engineer mixed in his left/right tastes of re-creating the more rich sound opposed to the dead sound from the studio, he listened to a normal speaker in a normal "room" environment (or maybe a dead room just the same) with normal good playback means with the emphasis on "good" because that is what it is about. Read : this is not so good at all but is expected to be good enough or irrelevant otherwise. The phenomenon is not recognized.

Stereo over two loudspeakers works by creating a phantom acoustic scene between the loudspeakers. In its simplest form a single monaural signal is fed to both left and right loudspeakers. If the two loudspeaker levels are identical and there is no phase difference between them, then a listener on the center line between the loudspeakers will hear the monaural sound as coming from the center though there is no sound coming from that direction. This is basically a very unnatural event and so a slight movement to the left or right will shift the phantom source to the nearer loudspeaker.

Courtesy of Linkwitz

Combine the last text with this picture (please notice that in the original text this picture is not related to the above text; this is my own "creation"). Now :

What I referred to in my first post is the in my view fact that such a microphone is not able to capture any stereo image in the deadened room. Mind you, while such a microphone setup is used at the distance, the more normal in-studio setup will be a single microphone, were it about a solo singer (as part of a band, but with the explicit notice that studio recordings usually or at least most often are not taken with the whole band playing together). Thus, a mono signal, or otherwise a stereo signal from the two-mike setup but too close to each other to form a real stereo image of proper size (and if at all the size would be of the distance of the mikes, but superimposed by reflections, if there to begin with).
Anyway, it is not allowed to think that a studio utilizes such a mike setup and create the stereo image at the same time. The studio is NOT a concert hall with explicit proper acoustics. A studio usually is as dead as can be. It will create a dead sound as mono is. Of course unless explicit mike setups are being tweaked in (like a couple more at a few meters distance from e.g. the singer, but I don't think it happens like that in a studio).

All in other words, there is no stereo image recorded in the studio, and chances are very fair that such a voice recording ends up on one channel to begin with, because just one microphone was used. Right ?

If right, then the stereo is "created" later, by the mixing engineer.

Today the majority of recordings are produced by down-mixing a multiplicity of monaural tracks of different instrument pick-ups into a 2-channel or n-channel format

Aha (and "today" is 2012 in there).

The mix-down often involves equalization, the addition of reverberation and compression in order to fit the taste of the recording engineer and market expectations as seen by the producer.

Panning distributes phantom sources along a line between the loudspeakers. The distance of the phantom scene from a listener is essentially given by the distance between listener and loudspeaker.


Read the above carefully so you keep track of what this is all about. Then digest this :

If the loudspeakers are highly directional and the room is acoustically dead, then the image is sometimes closer than the loudspeakers, approaching headphone listening.

I am not talking about the headphone listening (although I recognize it is true) but about the process of how sound comes to you from the loudspeakers. I am also not talking about the acoustically (too) dead room, but I sure talk about the "highly directional".

Depth and height behind the loudspeaker line depends upon cues that the brain receives from reverberation and volume levels of sources in the recording. It is difficult to produce a spatially coherent mix from multiple tracks that is believable. The result is typically a collage of phantom sound clusters next to and on top of each other, or a wash of diffuse sound.

What this all over says is that what we listen to is for 100% dependent on what the engineer made of it (plus what the producer demands of it in the first place) BUT that this again 100% depends on what the engineer listens to. And now I mean room + quality of system.



Not taking into account anything which was quoted, so possibly redundant :

Most of us will know that all we can perceive for left/right differences is based upon phase difference;
If a signal (or music) is springing from our two speakers, and the signal is exactly the same for left and right, you will be receiving both signals in the exact same phase, assumed the speakers are at the exact same distance.
If the signal is completely distortion free *or* the distortion is 100% equal in both channels, you will probably receive an image at the width of your ear distance. And if not that it will be infinitely small. Side note : which latter is impossible in our rooms because of reflections no matter what and these reflections can be called distortions and they will NOT be equal for left and right. So here our room will start to play its role.

If we turn our head a little, something has to change, because the one signal does not arrive at the same time to both ears any more. How this changes, see Linkwitz' text. But for us it is crucial to understand that the phase of the one signal is not equal for both ears any more, which is why we will perceive a change of sound when our head turns.

When two mikes would be placed behind each other in front of the singer, similar happens and the one single signal (coming from the singer's mouth) receives a small hall (one time echo). There are two signals now, and the distance of the mikes determines the time difference, depicted by the speed of sound. In practice two sound sources now exist (mind you, this is mimicked by the two microphones) and time delay is what we would perceive. Meanwhile though, because the sound source really is one only, we receive the same signal at the same time with a phase difference;
The depth which is implied by the two mikes of say 1 meter, will be audible in reality when played back through the speakers. This is not so much because of the time delay between the two recorded "channels" but is because of the phase difference our brain works with. I'd say that in real practice the sound starts to smear in depth, but all what happens is that reality (two mikes behind each other) is superimposed on us.

When there is just one microphone and there would be one loudspeaker, and this speaker radiates not only directly towards us but also via a wall which implies a one meter longer travelling distance, we have the same effect as the story with two microphones behind each other. Mind you, I am talking mono sound now from one speaker only.
But things get quite crucial now for proper understanding ...

*Because* we have two ears, we will be able to perceive the reflected sound just the same and we will be able to discern that the sound comes from the left hand side, assumed we only hooked up the left speaker which radiates to the left wall in front of us. So just because the direct sound implies a different phase angle for left and right ear (between them !) vs. the reflected sound coming from the wall which implies a larger phase angle difference between our two ears, the sound is not only discerned to come from the left hand side, but it is also recognized as a wider beam. It becomes "spacious".
Btw close one ear and you will be clueless where the sound comes from *unless* you start turning your head ...

Because the one speaker will radiate to the right hand wall just the same - and even more because toeing-in assumed as normal, it will radiate in more firm angle to the right hand wall than the left, we will surely receive those reflections just the same. One thing though, the distance is larger. Thus, distance to the right wall is longer than distance to the left wall, and thus reflections from the right wall arrive later again, plus they died out more because of sound disperses to all angles in mid air (the longer the travel, the more it will be spread, the less energy to one point - your ears).

This is all still with one speaker. But sound is quite spacious by now because of the reflections.

Now we make the left hand speaker very directional. It does not reflect to the left wall any more. The right wall it still does, just because it is beaming at it.
What should happen now is that the direct sound is very very tight because hardly energy was lost in the first place and no spaciousness is received from the left wall. It is one beam only. The reflections from the right wall now are very underwhelmed. They already were, but the direct beam is stronger now because no losses (all is relative, but you will understand). The reflections of the right wall could be perceived as just a diffusing factor. But spaciousness ? I don't think so.
The sound is now firm, but dead. It doesn't matter what the engineer faked in, because all he can have faked in is time delay and so be it. Remember, we switched off the right hand speaker so all other tweaks (like time delay between left and right) can not be perceived.

If we now switch back-on the right hand speaker, and we assume that nothing has been done really to the singer's voice just because the engineer perceived a sufficiently wide image for the singer's mouth to begin with, BUT we thus took out the reflections from the side walls (left wall for left speaker, right wall for right speaker), then we have back the mono sound with max with of our ears distance (or less). We have two undistorted sound sources and because they are undistorted we receive complete mono with no sizing of the instruments / mouths at all.

Now we are going to add distortion to the sound. Just normal distortion, of the type we actually always like to get rid of. But it just is there always, to more or lesser degree.
The characteristic of distortion will be that it is quite random. Think noise from various sources.
When it is random, it will also be different for the left and right channel. This means that our virtual mono sound because put (/left) in there by the engineer, becomes a more spacious stereo sound. We will be creating an "image" as such, thinking that such image will carry a certain width.
The mono sound is not mono any more.
On a side note, envision that noise is generally high-frequent and supposed it operates at 10KHz, left/right changes of 10,000 times per second are in order, but less, because the phase angle differences do not max out at this same frequency (because random). The less phase angle difference, the more small the image will be. And because not always the same, the image width will be a diffusing factor in itself; call this "focus" (or not).

Let's keep in mind that when noise is superimposed on our precious signal, each point of the wave for left vs right will start to show a different phase angle. This is how we will be interpreting that as "from left" and "from right". However, because it is random (noise) it will just create spaciousness, hence the image gets wider. It is a trick.
A trick which was applied (to us) as long as we can remember, because we always were subject to distortions.



I thus say that something has changed in this distortion realm. Sound has become way more mono with the same toeing. I must toe-out suddenly or otherwise the image is too small and not right to begin with.
I must add more side wall reflections than before or otherwise the sound beams too much (for me with my horn speakers).
It should be for the better that more beaming is in order, because that is easily audible in the remainder of the sound (I hear a 1000 things more than before). But that the effect of it would be that more reflections are required now, tells me the more that the recordings are not right because the engineer must have been listening t(rh)o(ugh) distortion when he judged the imaging to be fine and finished all off.

Peter
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« Reply #4 on: December 03, 2016, 06:18:50 pm »

Hi Peter,

Look into purist stereo recordings.

https://en.m.wikipedia.org/wiki/Blumlein_Pair

http://waterlilyacoustics.com

It may help reassess.

Best,
VJ
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« Reply #5 on: December 04, 2016, 02:58:18 am »

Part 1


Also a few more things to consider: (finally some time to think and write)

Can you hear the person next to you at 85-90 dB in a normal conversation when the music is playing? Does this or your regular volume seem louder than it is?

The reason is there is a possibility higher order harmonics have made their way into the system, even thought it might be negligible or non detectable, but those are the ones responsible for the hearing cues.  And exibit as above.
Also these are also responsible for limiting the sound field.

Of course it could be nothing or a more complicated process which includes this, or an entirely unrelated reason.

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VJ
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« Reply #6 on: December 04, 2016, 03:50:01 am »

Part 2:

Ok one more thing to clear

The human ear will use different parameters to diffentiate different frequencies

Group delay for higher frequencies (most important)
Phase delays for lower frequencies

Hearing has evolved over millions of years, and perfected. Hearing is not by first reflection "only", but a combination of the first and associated reflections ... just the process of evolution.


All require lengthy explanations for the general public, but Peter knows  thankyou

Best,
VJ
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« Reply #7 on: December 04, 2016, 09:51:28 am »

Hi VJ,

Thank you for your wise responses.

Quote
Can you hear the person next to you at 85-90 dB in a normal conversation when the music is playing? Does this or your regular volume seem louder than it is?

Yesterday we have been explicitly contemplating about what actually the status is. Envision that two things happen at the same time :
1. All sorts of mainly lower highs (could be 5KHz) are so forward that you'd just know it should hurt. Think glass sounds, higher ptched bells, but also attacks of en electric guitar when the player wants to let you startle (he/she never did that a year ago 1eye).
2. I seem to play 6dB louder at least (I just observe XX's volume).

It is this latter - and during these levels - that I asked or merely told Ciska here that we seem to have entered the stage that no matter how loud "it can't go wrong, as it seems". Envision, you claiming that to the witness of your wife's eyes and foremost ears, challenging for the "yea, great. Can you now put it down somewhat please ?". But this does not happen and possibly I only dare put forward such statement when I am confident.

We also talked about in the inability to *not* hear what the singer is singing. Neil Young was on and suddenly I heard him telling us all the things he never told before (and I am not someone who has the lyrics booklet at hand).

In the end I can't answer your question, because when such a thing happens like that bell or e.g. just Neil Young's voice, the very same happens like what I have been telling elsewhere (Phisolator topic I think) : I hear that voice, I try to compare with reality, judge that for sure he speaks louder than Ciska, and next regard it perfectly normal because he is singing into a microphone and it is me who determined the playback volume.
Of course such deliberation goes with 0.2 seconds, but the stupid thing is that the past days this is always my "conclusion" and it never happened before (say prior to the Phisolator). So I kind of judge everything and all to be right because I seem to be talking myself into it, but meanwhile this never could happen before. Then it was merely something like "okay, this is louder than normal life depicts, so let's put it down somewat". And btw not because of hurting stuff - it just would not work for my brains.

Btw, yes I can hear the person speaking and with more ease than before (while thus music natively has to be ~6dB louder than before). But I am not sure whether this is physically so. Envision this for contemplation :
You are at this party in a bar and the music is as always too loud to speak. Still you are not there to only drink and like to have a conversation now and then. "Couldn't they put that G-D volume down ?!?". I now dare think that this possibly happens because it just disturbs too much. Literally. Not because of too high volume, but because our brain must work too hard to get the wrongness right and listening to someone for real in the mean time, is not possible. Maybe think a bit like being deaf on one ear; no problem when alone in the room with the other person, but when with 20 more, all talking, there's no way you can concentrate on that one person you want to listen to. Of course ... this already can't work because you are not able to focus on that one angle from where this persons speaks (see my long post) but actually I already told about the very same, were it on better beaming. So ... when the music reproduction is not diffusing your room from all over, but acts like discrete people being at positions you are able to avoid, then you can focus on the person talking to you.
Yea, what about that. And you know, it really feels like that.

I did not understand it at first, but after my own reasoning as of now, isn't that exactly what you are saying ? :

Quote
Also these are also responsible for limiting the sound field.

Is Yes, we are getting somewhere. Happy
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« Reply #8 on: December 04, 2016, 10:01:43 am »

Quote
The human ear will use different parameters to diffentiate different frequencies

Group delay for higher frequencies (most important)
Phase delays for lower frequencies

To be honest, this have been in my mind after I changed the toeing of the speakers. So only then I knew it helped (and my first hunch was right) but I never changed them back to re-visit this strange directionality of the bass vs. that different imaging of the remainder. So of course we tend to think that the bass comes from the woofers, but in all honesty this is not what I should refer to. So in aftermath I am quite sure that this is somewhat higher which kept on being "directional".

VJ, I recall something with 1000Hz, but I did not look it up and I certainly should not act as being the authority here, so I like to leave that up to you. But what about this (your quote) being 100% crucial, especially because it looks to make the difference here. So NOT some stupid woofers vs a top horn, but just some boundary where we humans start to technically work differently and I now coincidentally ran into a setup which can the most easily show this.
Let's keep in mind that I regarded it the most peculiar that it could happen in the first place; Be at one side of the room, hear everything up to some frequency dead from the middle but perceive all under that (I referred to that as "bass") from the speaker at the side in the room you are (and that at 10m distance). Happens to both sides of the room equally well which will not happen if it is a coincidental (standing) wave anomaly.

Best regards,
Peter
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« Reply #9 on: December 04, 2016, 12:23:47 pm »

I now dare think that this possibly happens because it just disturbs too much. Literally. Not because of too high volume, but because our brain must work too hard to get the wrongness right and listening to someone for real in the mean time, is not possible.

I have been wondering for a long time (many years now) why I can listen to many 'lesser' systems (kitchen radio, car system, office system) for hours and yet when I listen to most 'hi-end' systems I'm actually quite glad when the music stops after only a few minutes because I can actually 'recover'. The hi-end systems are certainly 'better', in the sense that they sound more real. And I think this is where things go 'wrong' for the brain perhaps.

When listening to the radio in the kitchen, it's obvious that it's a reproduction. The brain is relaxed with this - no need to work to fill any inadequacies in - the radio does the job it was intended to do. But when listening to a hi-end system, there are elements which sound so real, but others that simply will never, no matter how good the system, ever sound real. And the brain then has to do a lot of work to fill these inadequacies in.

Mani.
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« Reply #10 on: December 05, 2016, 01:06:45 am »

Peter,

The overlap is 800-2500/3000 Hz range, right were most crossover are located.

Ear dominance: both ears are not equal in hearing ability, and both pathways don't interpret the sounds, one side pathway is dominant!

Reflections: don't forget the complex reflections in the local level ....the pinna (ear lobe) upper chest, and head transfer functions. Everyone's pinna is unique and therefore the hearing. Ears like reflections, even order harmonics help too! People get disoriented in anechoic chambers because the lack of reflection limits localization and orientation.

Background noise ..... no matter how low the noise level is in the body has internal noise. The heavy beating of the heart one become alerted to "only" in frightening situations .... but is present all the time.... but our brain ignores it.

Mani:
devil is in the details. First partly psychological since one will never critically listen to the radio. Radio is also playing at a lower level. Less details, less for the ears to be alerted to. Also radio is mono, so no stereo localization.

Oh forgot: almost all songs played on radio are tweaked for such a system  Wink "radio edit". No need to elaborate  Happy

Edit: Re- reflections
Human ears are reliant on reflections for a lot of things, behind in the subconscious mind, the brain has already oriented "one" to the dimensions of the room. When one speaks, or some noise, the sound is spread all around, and reflections are recorded and analyzed for location and orientation. Mind you this takes an instant. After than the brain is "constantly" checking for this .... so reflections are in fact "not" distortions as commonly conceived but crucial part of the human psychoacoustics ....  so when a noise arrives it will be checked for its position, and if it does not contain some of the parameters of the listening/event space, the first part of authentication fails. Beaming speakers will fail, and fail miserably because the listening space is infinitely small and any head movement caused the sound stage to shatter. On the other hand too wide a dispersion, as my prior Omni, will cause loss of detail. Also Omnis can't handle transients.
Dynamically Controlled reflection are the next frontier in HiFi  Cool


Best,
VJ
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« Reply #11 on: December 05, 2016, 09:03:19 am »

Oh là là... They certainly look great together. Is the Lambo as much fun to drive as the Alfa?

But surely neither is as much fun as sitting at home listening to your hifi?  teasing

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« Reply #12 on: December 05, 2016, 02:52:38 pm »

Mani,

Of course the Lambo is a different beast with a price-tag 8X the Alfa, 3Xs cylinders (naturally aspirated), and with more than 2X the power, 7 different suspension settings. In the windy mountains roads, Alfa was in par, or might I dare say an edge with its smaller wheelbase. In the straightaways it's no match. The Lambo guy is an avid racer, was in fact suprised by the lil Alfas performance.

Cheers,
VJ
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« Reply #13 on: December 05, 2016, 06:21:30 pm »

All require lengthy explanations for the general public, but Peter knows  thankyou

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Removed Switching Supplies from everywhere (also from the PC).

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« Reply #14 on: December 05, 2016, 06:25:25 pm »


About toeing :


I can tell you, if someone would know that this exists ...
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Removed Switching Supplies from everywhere (also from the PC).

For a general PC :
W10-10586.0 - May 2016 (2.05+)
*XXHighEnd PC -> I7 3930k with Hyperthreading On (12 cores)* @~500MHz, 16GB, Windows 10 Pro 64 bit build 10586.0 from RAM, music on LAN / Engine#4 Adaptive Mode / Q1/-/3/4/5 = 14/-/1/1/1 / Q1Factor = 1 / Dev.Buffer = 4096 / ClockRes = 1ms / Memory = Straight Contiguous / Include Garbage Collect / SFS = 0.10  (max 60) / not Invert / Phase Alignment Off / Playerprio = Low / ThreadPrio = Realtime / Scheme = Core 3-5 / Not Switch Processors during Playback = Off/ Playback Drive none (see OS from RAM) / UnAttended (Just Start) / Always Copy to XX Drive (see OS from RAM) / All Services Off / Keep LAN - Not Persist / WallPaper On / OSD On / Running Time Off / Minimize OS / XTweaks : Balanced Load = *43* / Nervous Rate = 1 / Cool when Idle = 1 / Provide Stable Power = 1 / Utilize Cores always = 1 / Time Performance Index = *Optimal* / Time Stability = *Stable* / Custom Filter *Low* 705600 / -> USB3 *from MoBo* -> Clairixa USB 15cm -> Intona Isolator -> Clairixa USB 1m80 -> 24/768 Phasure NOS1a 75B (BNC Out) async USB DAC, Driver v1.0.4b (4ms) -> Blaxius BNC interlink *-> B'ASS Current Amplifier /w Level4 -> Blaxius Interlink* -> Orelo MKII Active Open Baffle Horn Speakers.
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