There's probably enough leakage inductance in that loose coupling to clobber the high frequency transfer. Might transfer HF capacitively , though.
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Extreme Snake Oil
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Hifi is pure kayfabe at this point.
For those unfamiliar with the term, it’s the understanding by the viewing public that professional wrestling is indeed staged yet we suspend disbelief and pretend it’s real for entertainment purposes. In the late 90’s and early 2000’s my high school buddies and I used to get the big WWF PPV events because they were wildly entertaining. We obviously knew it wasn’t real but it was fun to get together to watch.
With all the advances in science and engineering and the availability of information, the willingness to accept provable bullshit claims and to still part with one’s money is basically kayfabe. One needn’t look further than the collective delusion of some forums like Audiogon and Headfi. Big difference is we were only out 50 bucks.
For those unfamiliar with the term, it’s the understanding by the viewing public that professional wrestling is indeed staged yet we suspend disbelief and pretend it’s real for entertainment purposes. In the late 90’s and early 2000’s my high school buddies and I used to get the big WWF PPV events because they were wildly entertaining. We obviously knew it wasn’t real but it was fun to get together to watch.
With all the advances in science and engineering and the availability of information, the willingness to accept provable bullshit claims and to still part with one’s money is basically kayfabe. One needn’t look further than the collective delusion of some forums like Audiogon and Headfi. Big difference is we were only out 50 bucks.
Pro wrestling ("wrasslin") is deliberately hammed up to enhance its entertainment value in order to garner more viewership for added advertisement revenue. It is, always was, and will always be about the money. Real, such as college or high school wrestling, can be boring to watch if you are not a wrestling enthusiast.
By “willing suspension of disbelief”, I wasn’t referring to the wink and a nudge demanded by pro wrestling, which to me is much more extreme. I was referring to the willingness to believe I’m sitting in Row J of the Lincoln Center instead of the sofa in my living room, at least for music whose primary presentation is in a live acoustic space. The concert-hall acoustics presented in a good acoustic recording won’t make any factual sense in my living room, and I’ll still be able to see the speakers with my conscious mind. Even with that, the stereo image will seem like a continuous sound field and not like two point sources. But I will still have to set aside what my mind factually knows about where I’m sitting.
For me, that’s easy, and a speaker has to work pretty hard to call enough attention to itself to become a point source. But if I work at it, I can usually make myself aware of the speakers as a source and break the sense of a continuous sound field. I just choose not to.
What makes a speaker do that? Audible distortion (leading to crispy-fried treble), compressed/boomy bass, or some gross lack of spectral linearity that changes the timbre of instruments.
For music that is primarily presented in recordings, such as most amplified rock, the burden shifts to live recordings to sound like the studio.
Rick “thinking this is back to basics” Denney
For me, that’s easy, and a speaker has to work pretty hard to call enough attention to itself to become a point source. But if I work at it, I can usually make myself aware of the speakers as a source and break the sense of a continuous sound field. I just choose not to.
What makes a speaker do that? Audible distortion (leading to crispy-fried treble), compressed/boomy bass, or some gross lack of spectral linearity that changes the timbre of instruments.
For music that is primarily presented in recordings, such as most amplified rock, the burden shifts to live recordings to sound like the studio.
Rick “thinking this is back to basics” Denney
HammersRocco
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Lots of good points - I come from a very small town - grew up a Classical fan thanks to dad, although I left it for a little bit because of the siren of rock'n'roll calling - anyway, my point is that I grew up on recordings. By the time I was able to leave town and go to concert halls, to my surprise, I found out that it sounded alien to me. It feels like I went to a backwards process from what rdenney is describing. That is, trying to put what I am hearing in what is supposed to be the natural environment in the sound world of a recording ( closely miked, if possible!
)Even in acoustically great halls like the Wiener Musikverein and the Walt Disney Hall, I found myself thinking... "I prefer the recording" !
( I know, I know )Gave up on going to rock and pop concerts and expect any kind of great experience. I normally ward earplugs NOT because of the volume, but because it tames all the disagreeable sound, especially in clubs and stadiums; it makes it clearer and more listenable IMHO - it makes sense that theatres would be better but if the band/artist decides to be loud enough, it shows that those theatres were not designed for that volume.
Hammers "I wish rdenney would put his closing point in the comment instead" Rocco (
! )
Punter
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I always get a chuckle out of all the "soundstage" talk on HiFi forums especially when the gushing comments refer to a studio recording. Recording a rock band in a studio generally involves each instrument and vocalist recording their parts separately while listening to a playback of the other elements. This may not be the way a classical ensemble is recorded (don't know, no experience) but even so, in a studio setting, instruments and vocalists are miked up and each of their mics is recorded onto a separate channel on the recorder. The oft fawned over "soundstage" is primarily the result of the recording/mixing engineer manipulating those separate elements into a left, right and center mix. Subsequently, the stereo image is entirely synthetic and has been designed to sound good on a two-speaker reproduction system. By contrast, a true binaural stereo recording created in a room/auditorium with a live ensemble or artist will sound fairly unimpressive on a two speaker HiFi as the stereo image rendered by this method lacks the intervention of an operator who is panning sources to the left or right electronically.
^Along those lines, I remember reading a speaker review just a few short years ago where the reviewer gushed that the imaging was so good that, on a recording of vocals and piano long familiar to him, he was *finally* able to place the singer right at the piano with amazingly precise location. He wrote to some length about how clearly he could now picture the singer at the piano.
I had to break the news to him that A) The singer didn't play the piano. The person playing the piano and the person singing were two different people, and B) The piano part was recorded in one studio, while the vocals were recorded days or weeks apart in a different studio in a different state.
I had to break the news to him that A) The singer didn't play the piano. The person playing the piano and the person singing were two different people, and B) The piano part was recorded in one studio, while the vocals were recorded days or weeks apart in a different studio in a different state.
The mixing board, even in live sound, has a knob titled "PAN" that allows one to mix the monaural signal from that channel into left and right stereo variously continuously, and rarely is it hard left or right. But, yes, the "stage" is entirely an artificial construct for a lot of recorded music. Often, the technician changes the pan in the middle of a song. And vocalists often overdub their own singing and the second version of themselves will be panned differently.
But an even marginally competent mixing technician will create a stereo image that, with apparent realism, spreads the apparent sources out across the width of the sound field, instead of concentrating them in each channel.
Classical music recordings run the gamut of microphone positioning philosophies, from two or three mics out front to dozens placed right in the ensemble. But the performers nearly always perform together. It's a different fundamental process--classical performers are trained for live performance and record as a side hustle of sorts, while rock bands create studio recordings in parts and then learn how to perform them on the road. (Of course, the industry is a continuum between these two models.) Bands that could really do in a live performance what they had recorded were respected for their sheer technical ability, if the music was at all complicated. Among the prog-rock bands I know about, Yes was a group that famously could do just that, while Emerson, Lake and Palmer were limited by their number in their ability to perform what they had created by overdubbing in the studio. A classical string quartet or brass quintet will perfect the uninterrupted live ensemble performance before the recording session, not after it. Thus, the classical performers need each other during the performance to know how to play with musical precision, particularly with music that involves continuous variations in tempo.
But the engineer may still mic each instrument individually, recognizing that there will be acoustic bleed-over from channel to channel, to give themselves more control. The musicians usually dislike that approach, thinking that the balance and ensemble precision of the group is their responsibility, not the mixing technician's.
Audio nuts approach their systems differently, it seems to me, based on the music that drives their audio equipment choices. I love my prog rock and many other genres besides, but for me the main test of a system will always be acoustic classical recordings.
Rick "musicians are usually kept out of the mixing room, often enough with justification" Denney
EERecordist
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Local ad. Item is about half retail price used.
Doesn't really look like much. It's from Transparent Cable https://www.transparentcable.com/products/ultra-speaker-cable. No Idea whet OHFC stranding is.
The shop has line level interconnects too:
Doesn't really look like much. It's from Transparent Cable https://www.transparentcable.com/products/ultra-speaker-cable. No Idea whet OHFC stranding is.
The shop has line level interconnects too:
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OFHC: Oxygen-Free High Conductivity.
Because, you know, we are using a thousand feet of the stuff and an additional 2% conductivity is really, really, really important.
Rick "
" DenneyEERecordist
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Thanks! I majored EE with a concentration solid state physics. I agree, no difference in conductivity.OFHC: Oxygen-Free High Conductivity.
Because, you know, we are using a thousand feet of the stuff and an additional 2% conductivity is really, really, really important.
Rick "
I did deal with oxygen impurities in the silicon substrate causing a small number, enough, of the electrons to leak off from the memory cell in a dynamic RAM chip, flipping the bit. We proposed to buy a spectrometer to screen the incoming wafers for oxygen. For that amount of capital at the time, it required the approval of Gordon Moore. It turned out he was an expert on that type of spectrometry. He said, don't buy a machine, require the wafer vendor to deliver oxygen-free substrates.
I also worked on superconductivity. That's the way to go with an infinite budget, superconductors in audio
PristineSound
Major Contributor
If you have a long run for your subwoofers, I recommend balanced XLR. Of course you can buy it for less than $30 from Amazon.
Won't the binaural recording work well with headphones?
That's the ultimate tweak. "Your interconnects must be submerged in liquid nitrogen."
Rick "which would create a weather pattern in the living room with the Class A foot-warmer amps" Denney
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Heaven forefend that the MSRP be, say, $640.00, or, say, $639.75 (to say nothing of, e.g., $639.82)
$639.95 -- oy.
MarkS
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Transparent Audio cable comes with an impeccable recommendation:
forum.blu-ray.com
Pretty sure that's copied from a Stereophile article, but I can't find the original.
I saw Fabio in person walking around the rooms at a Stereophile audio show in LA sometime in the early 90s ...
Fabio - an audiophile?!?!? - Blu-ray Forum
Fabio - an audiophile?!?!? General Chat
Pretty sure that's copied from a Stereophile article, but I can't find the original.
I saw Fabio in person walking around the rooms at a Stereophile audio show in LA sometime in the early 90s ...
Speedskater
Major Contributor
Yes, resistors do have distortion and noise, but it takes high-tech equipment, skill and time to measure it.
It could be in the -150 dB area.
It could be in the -150 dB area.
Nutul
Addicted to Fun and Learning
TBH, I think that, with resistors alone, we may well be in the -300 dB area... that is... WGAF.
Get a couple pair for the kids!
Good luck hearing that. I'm sure that some 'phile will claim that it's audible.
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