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Found 4 results

  1. Goal /the incumbent filters: get a faster more “agile” articulate intelligible sound while keeping big bass extension Crisis started when I switched off convolution to compare my setup + original Argo of Jamal at Alambra to the needle drop sold as dsd download (yes yes and to much praise by Acousticsounds ; meaningless comparison since I doubt the needle drop is sourced from the distorting but sometimes gloriously tubey original) : though convolved DSD was a clear winner over non convolved DSD or LP, it sounded too analog and too tamed, fat and slow. Findings Do eQ, REW is donations welcome free : try it (but you need a microphone). Doubt you get comparable results from power usb whathaveyou cables… RR1 (as in https://www.innerfidelity.com/content/warren-tenbrooks-summary-head-measurements-harman) is a mighty good target house curve Mind applied smoothing : a predicted response curve matching Bob Katz’s target (flat to 1 k, 6 dB downward to 20K ) created with “Psyschoacoustic” smoothing in REW resembles RR1 when looked at in VAR or traditional (ie 1/3 octave) smoothing mode (Bob Katz uses Acourate’s Psychoacoustic) Multiply measurements but pick the one that resembles average, not the average summation (ie in REW the Psychoacoustic profiling only applies to single measurements ; as do many options) Avoid messing with frequencies above Minimum Phase zones galore (on the left half of frequencies) (850 Hz max here, different from the theoretical 300). Lower Shelves are great : found out that RR1 paralleled the measured response in my room and that a 5 dB 600 Hz start LS puts frequencies below 600 on the RR1 target Dare switch to Manual. Automatic was not at ease, I took the time to flatten the bumps and, up to 9 dB in Minimum Phase zones, fill. Listen (Stereophile CD3 and best of Chesky 2 have been most helpful, mainly the tracks with moving point sources (acoustic clickers, cowbell…) ). I did not have at hand the mike I created the measurements with, only a iPhone + SPL app, useless below 250 and probably giving a false 3 dB bump reading at 500, but measuring would be great too. In the end listening matters more. Bottom line :girlfriend threatened to quit madman but is as amazed as I am in the end : WOW ! Goal met
  2. I have spent quite some time assessing PGGB, with success restricted to a tiny subset of early digital recordings. I have been happy to be confirmed by most respected people here that I’m not the only one to have my bad days/moments when I can’t enjoy music. I have stressed that our little games of comparing things is a factor that induces me in such bad moments. Now it’s time I stay away from AS for a while, things to do... But I wish to extend interrogations I started in my Deaf or Dumb thread about volume/SPL. I’ll be happy to read well thought comments. As a starter, I recommend @Confused's, the latest on Deaf or Dumb as I start this thread, with discussion of complex topics in mind rather than anathema or empty contradiction. Le Phénix des hôtes de ces bois wrote : « What's the goal? If it's accuracy, then we must know the volume the artists were playing at when the recording was made? Plus, if one's hearing isn't perfect, a volume adjustment could bring the level more in line with that live performance. What about Dark Side of the Moon, where there isn't a live performance? How should volume be set? It's a fool's errand and it makes no sense to specify a correct volume for listening.” As of classical music, Bob Katz wrote : “The late Gabe Wiener produced a series of classical recordings noting in the liner notes the SPL of a short (test) passage. He encouraged listeners to adjust their monitor gains to reproduce the “natural” SPL which arrived at the recording microphone. The author used to second-guess Wiener by first adjusting monitor gain by ear, and then measuring the SPL with Wiener’s test passage. Each time, the author’s monitor was within 1 dB of Wiener’s recommendation. Thus demonstrating that for classical music, the natural SPL is desirable for attentive, foreground listeners. » I have to say I’m with Bob Katz and believe I’m quite good at reproducing the natural SPL. Of course I heard the greatest pianist in large venues, not ideal, and it makes sense to have a recording of Richter slightly louder than in the concert hall. Jazz is tricky, I will call it mix bag for the moment. I certainly would not call Bob Katz a fool and his K system a fool's errand and yet he made efforts to specify a correct volume for listening and published a list of recordings ( https://www.digido.com/honor-roll/ ) mentioning his monitor position with reference to 0, 0 being for 500-2K PN -20 RMS (available on his site) yielding 83 dB/monitor at Listening Position. I own a 8 amplifiers, 1200 W total capable system, yet setting HQP at -3, I have to crank my preamp, at 63, a mere .5 dB from maximum volume and that is with +7 dB gain at the DAC’s entry ! @Miska I guess this is optimum gain with lowering in HQP ? or may I set 57 for it feels strange to be at max volume ? I also have the possibility to push entry gain to 20 but 7/8 sounds best. So we need amp power and speakers that might handle it… 500-2K PN -20 RMS says Bob Katz, it avoids bass debate but my 8K sure is above Katz’s target and it’s going to matter for pleasure… It happens that Doug Sax’s mastering of Dark Side of the Moon is part of https://www.digido.com/honor-roll/ And it’s 1 point for Chris. I mean I couldn’t listen long at Katz’s suggested volume, even after I created a set of filters rolling-off my treble to be closer to KATZ’s. 98 dB C peak is too much for me! I then played my favorite digital version, 5.1 MCH downmixed 2.0 and enjoyed it much more. It peaked at 94.5, very enjoyable, but I did not feel compelled to raise and up the pre gain to match the 98 reached with Doug Sax’s mastering. I preferred it with no HF roll-off and would have rather turned bass a bit down. However, success playing at Bob’s recommended volumes with Shirley Horn and Rolling Stones though for the Stones I had to use the filters rolling off HF. And certainly others this afternoon So, so far this a reminder that money should go first to basics : power and power handling capabilities. Then, I could agree that whatever pleases someone is the right volume for that someone. But this is also true of the mastering engineer : it sounded right, tonality, image, etc, for him with a certain frequency response and at a given SPL. When mastering has been done at enormous SPL we will have a bass shy reproduction at lower level, etc. Thank you Bob Katz for publishing reference SPL, probably enjoyed by you with monitors set to your target. I certainly would not qualify your tentative a fool’s errand even though I rather let my speakers’ HF FR be rather than make them follow your target and even if I have to sometimes turn down volume, because there are many other factors, damping, reverb time etc that most certainly make my room lesser than yours. So, I respect that enjoyment might be at different volumes but I certainly would not call Bob Katz a fool and his K system a fool's errand. The 90 dB at forte of most classical music can certainly be reproduced at home and Bob Katz’s suggestion of a Mix/Mastering system allowing clever compression to put pop music’s forte, when and where there isn't a live performance as reference, in the ball park of classical music’s, very welcome. Publishing Frequency Response and SPL at LP should be mandatory when publishing a review
  3. Measurements like statistics in politics can be manipulated or even ill used with best intentions. In this thread I intend to go under the hood showing the options I chosen along the way while creating convolution filters. So maybe I'll expose my goofs and you're welcome to comment them. Or maybe this will enlighten your own choices and help you take better informed decisions.
  4. There are several threads discussing target curves ; please let's keep this one tidy with simple sharing of our findings regarding Matching House Curves and Mastering. So yes there's a postulate that beyond subjectivity and idiosyncrasies of loudspeakers/room fit, there's a rational for using different curves so to get closer to the conditions in which the art was created/approved. The linked paper is an excellent read. I provide a picture of the curves I'm referring to (top to bottom : JBL Synthesis, Harman RR1, Bruel & Kjaer 1974, not theoretical but how I actually achieved them L + R with my room/system) ); please specify if you use different ones but let's not discuss their respective merits and motivations here. Once again, let's focus on matching, simple, straight to the point. However a few words about your criteria might be useful. AFAIC, it's mostly soundstage, how things fold together. The obvious more or less bass and sub bass criteria is not that operational and how vocals are infatuated or not tends to be the go/no go point for RR1 (above the 2 others between 160 and 500 Hz) vs either BK or Synthesis that are equivalent in that region. Also, the extra mids from 800 to 4 K of the Synthesis often act as an appealing reason to go Synthesis even if there's a touch too much bass, because of extra presence and delineation of soundstage, instruments and vocals separation. Next post is an example of how I suggest we populate this thread. If deemed necessary, precisions about decade of mastering or country could br added 17839.pdf
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