It must be real fun living inside your head
I hope to define euphonic with precision (as a regular expression) that I can control from my RME DAC.
Thanks. I will certainly research them. B&W has an excellent reputation. I think I have a technique to precisely color speakers using my RME DAC.
Space is the constraining factor. Any speakers smaller than the exterior size ( 10" ) of my subwoofers is under consideration. I simply do not know enough.
Can you recommend a smaller one?
- I placed various empty boxes in my bedroom.
- A 7" cube seemed most proportional for the room size.
- 7" seems incrementally large enough when placed next to my A3s
- My 10" (exterior size) subwoofers seem too big.
Funny you should mention that. I was just looking at how to do that with the Genelec 8020D. The RELs do not have pass through.I just now read your earlier topic you mention having “2x Rel T-Zero Mkiii subwoofers” already.
So I guess you can get away with the smaller options. . .
I assume you are planning on connecting the Rel subwoofers to the RME DAC’s RCA outputs, then connecting the studio monitors to the RME’s XLR outputs.
You can't, because you can't control things like harmonic distortion.
Granted. Let me qualify by saying the things that are within my control.You can't, because you can't control things like harmonic distortion.
The chant is useful for teaching singing because of the way it uses successive notes of the scale: the first six musical phrases of each stanza begin on a successively higher notes of the hexachord, giving ut–re–mi–fa–so–la; though ut is replaced by do in modern solfège. The naming of the notes of the hexachord by the first syllable of each hemistich (half line of verse) of the first verse is usually attributed to Guido of Arezzo. Guido, who was active in the eleventh century, is regarded as the father of modern musical notation. He made use of clefs (C & F clefs) and invented the ut-re-mi-fa-sol-la notation. The hymn does not help with the seventh tone as the last line, Sancte Iohannes, breaks the ascending pattern. The syllable si, for the seventh tone, was added in the 18th century.
The first stanza is:
Ut queant laxis
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First verse of the hymn (Gregorian chant)
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Ut queant laxīs
resonāre fibrīs
Mīra gestōrum
famulī tuōrum,
Solve pollūtī
labiī reātum,
Sāncte Iōhannēs.
It may be translated: So that your servants may, with loosened voices, resound the wonders of your deeds, clean the guilt from our stained lips, O Saint John.
A paraphrase by Cecile Gertken, OSB (1902–2001) preserves the key syllables and loosely evokes the original meter:
Do let our voices
resonate most purely,
miracles telling,
far greater than many;
so let our tongues be
lavish in your praises,
Saint John the Baptist.[4]
Except when the VooDoos in New Orleans cast their spell to turn me into a zombie.It must be real fun living inside your head
https://en.wikipedia.org/wiki/Gordon_music_learning_theory#Audiation
Audiation is a term Gordon coined in 1975 to refer to comprehension and internal realization of music, or the sensation of an individual hearing or feeling sound when it is not physically present.[5] Musicians previously used terms such as aural perception or aural imagery to describe this concept, though aural imagery would imply a notational component while audiation does not necessarily do so.[6] Gordon suggests that "audiation is to music what thought is to language."[7] His research is based on similarities between how individuals learn a language and how they learn to make and understand music.[8] Gordon specifies that audiation potential is an element of music aptitude, arguing that to demonstrate music aptitude one must use audiation.[9]
Audiation and language[edit]
Gordon describes that audiation occurs when an individual is "listening to, recalling, performing, interpreting, creating, improvising, reading, or writing music."[10] Audiation while listening to music, he describes, is analogous to the simultaneous translation of languages, giving meaning to sound and music based on individual knowledge and experience.[11]
Gordon also emphasizes that music itself is not a language as it has no words or grammar, but rather has syntax, an "orderly arrangement of sounds, and context."[12]
https://en.wikipedia.org/wiki/Gordon_music_learning_theory#Audiation
Audiation is a term Gordon coined in 1975 to refer to comprehension and internal realization of music, or the sensation of an individual hearing or feeling sound when it is not physically present.[5] Musicians previously used terms such as aural perception or aural imagery to describe this concept, though aural imagery would imply a notational component while audiation does not necessarily do so.[6] Gordon suggests that "audiation is to music what thought is to language."[7] His research is based on similarities between how individuals learn a language and how they learn to make and understand music.[8] Gordon specifies that audiation potential is an element of music aptitude, arguing that to demonstrate music aptitude one must use audiation.[9]
Audiation and language[edit]
Gordon describes that audiation occurs when an individual is "listening to, recalling, performing, interpreting, creating, improvising, reading, or writing music."[10] Audiation while listening to music, he describes, is analogous to the simultaneous translation of languages, giving meaning to sound and music based on individual knowledge and experience.[11]
Gordon also emphasizes that music itself is not a language as it has no words or grammar, but rather has syntax, an "orderly arrangement of sounds, and context."[12]
The RELs do not have pass through.
We think along the same lines. I appreciate the guidance.Yes so you will have to send them full range signal from RME’s RCA outputs, and then adjust the REL’s crossover to integrate.
I am pretty sure RME is a professional product built to high-standards and they thought of every possible use, so outputting from RCA + XLR should be fine.
We think along the same lines. I appreciate the guidance.
This coincidence is very funny to me. We were simultaneously writing about the RME manual at the same time!I have seen the user manual for the RME ADI-2 DAC.
It is extremely detailed and it seems they do not omit any information, so likely they have mentioned the simultaneous use of XLR + RCA somewhere in there.
To speed up the process I suggest looking for the official PDF manual from RME and using the “search/find” function of your browser in your attempt to find it.
However, the speakers now need minor tweaking with the bass/treble controls at close distance.
I am probably more fussy. But I hate dumping endless amounts of time into tweaking sound. I strongly resisted the PEQ, because I know what a huge time sink tweaking sound is.Well that is to be expected, and therefore most will keep their listening position fixed by using a “listening” chair etc.
I am not too fussy so I can move around the room while music is playing, and my mind can process the changes in sound and I am fine with that.
With enough testing and adjustments I’m sure you will find a good compromise between positions to keep the settings fixed.
Or maybe you are more fussy than I am. . .
I think the Elac Navis ARB-51s would be great when I want to focus on one piece of music. I am not sure the marginal gains justify the cost and hassle of rearranging everything to accommodate the space for them. The Navis architecture probably is just as appealing as actually listening to them.
Yes, I agree, excellent point. I get the same impression. I think the Navis might fall into disuse.I think one thing to be aware about the Navis is, it is likely designed with target audience as “HiFi” therefore “mid-field (1.5 to 2.5m+)” listening distances.
For those who enjoy listening at low-to-moderate volume levels. I would worry that I will not use enough of its “gain” to reach its “sweet spot”.
One video I watched awhile ago mentioned the Navis sounding “lifeless” and “dull” at low volumes, and at louder volumes it sounded like they expected, but then it was over powering the room.
Now this could be just one persons opinion, but it made sense to me when I heard the comment.
The person who made the comment returned Navis, and moved on to Genelec The Ones.
I tried to find the sensitivity ratings, but they are not readily accessible. I did find this in the owners manual:I think one thing to be aware about the Navis is, it is likely designed with target audience as “HiFi” therefore “mid-field (1.5 to 2.5m+)” listening distances.
For those who enjoy listening at low-to-moderate volume levels. I would worry that I will not use enough of its “gain” to reach its “sweet spot”.
One video I watched awhile ago mentioned the Navis sounding “lifeless” and “dull” at low volumes, and at louder volumes it sounded like they expected, but then it was over powering the room.
Now this could be just one persons opinion, but it made sense to me when I heard the comment.
The person who made the comment returned Navis, and moved on to Genelec The Ones.
Gain Adjustment (GAIN) - This adjustment allows you to match the input sensitivity of the speaker to the gain of your system. If when setting your volume level you cannot turn the system up loud enough use the HIGH setting,
if alternatively you find that the speaker is too loud at a moderate volume control setting then use the LOW setting.