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I was asking why the speaker in the graph excites the modes near the wall (where the mode has oscillating pressure but no movement), but not when at the velocity node. I think I understand now. The moving diaphragm alone is a dipole, but a speaker is not.

Excuse me for my silly question, but why is it that speakers output pressure waves as shown here, instead of velocity waves? I've always thought the speakers in-wall have trouble exciting the modes, because they expect a pressure source (and a firm wall) there, while the cones and domes were...

Wow this is... unbelievable! Should I call it ignorance or incompetence? Digital volume regulation without dither? What year is it, 1993? It could either have gone 24-bit all the way (receives 16-bit data, treat as 24) and avoided truncating that many significant bits, or at least have dithered...

It’s up to the receiver to decide. I’d bet those with motorized pot would rotate in response. Some DAC-pre combos have resistor networks and they can actuate those. As for the scale-volume correlation, should this protocol resemble UAC, Core Audio and others, it would still be mostly device...

Ironic how ‘studio monitors’ became synonymous with ‘waveguides and smooth directivities’ in pop culture, thanks to paragons like Genelec and Neumann… Meanwhile speakers meant to be situated in a living room, went like ‘yeah waveguides can have 1-2 dB influence but are hard to do right. We can...

Caveat: the ‘classical stereophonic’ systems in this study meant: Headphone with no cross feed, playing mixes in which major instruments were panned hard left/right! A guitar playing from the left can only, and a bass to the right only. A most unpleasant listening experience on headphones...

Eh, I think I may have been unclear. There’s a sort of sonic characteristic that’s unmistakably archaic in those recordings. Is it owing to mixing decisions or limitations in devices, I do not know. I do know that whenever a sense of familiarity crops up I’d bring up the player to find it’s a...

Everyone on this site accentuates the importance of “listening window”, “dispersion” etc but I’m not sure those apply to your scenario here. Good ol’ 1970s wisdom was to go direct sound >> first reflections and then kill the slowly decaying room resonances somehow (absorption & diffusion)...

Thank you for your kind replies. I'm now illuminated.

Hello ASR, thank you in advance for answering my silly question. I have a hunch that this has been standardized in the industry, only that I'm not good enough at googling. As we know, there are two ways wave-forms add: for coherent ones, two equal signals in phase adds into something with 2x...

We wanted to ask ‘if the distorted signature is pleasing’, then we need a way to isolate that signature. I propose we compare two different tracks at a time, one distorted the other not. Later on we may come back to the same tracks with the distortion status reversed, but we don’t directly AB...

Re: If one instrument sound different in different venues. Well they surely do! They are pieces of vibrating boxes, with each surface radiating different sub-pieces of music at different angles, phases, etc. It’s like loudspeaker-room interaction taken to the extreme. In a truly unnerving way...

Hello, and please forgive me for this basic question. The point seemed not to be discussed anywhere. I was auditioning the Genelec G1-4 speakers, and upon switching from G2 to G3, it got shockingly louder. The rest of the swaps went seamlessly, even when unplugging G4 and switching to those...