PHILIPS RED BOOK

[RayDunzl]

And why is a synthesizer an exception?

Because it can produce sine wave, if that is your choice.

Strings, horns, reeds, percussion, you name it, can't. All have their own harmonic signatures, which is what gives them their distinctive "sound".

There may be exceptions of which I am unaware. Marimba?

Nope.

 

[stalepie]

OK, I was probably asking the wrong thing because I was thinking of hearing limits not the Redbook standard.

Thanks for the help. Sorry about this

 

[Blumlein 88]

Hmm. I wonder why they struggle to get that part right. Maybe they just don't care too since there isn't much musical content down there.

Its just the nature of physics. To produce a low frequency tone the cone has to move much further. At a given sound level half the frequency requires 4 times the excursion. So even large speakers will struggle at high levels and low frequency notes. And on top of that yes, few recordings will have much below 40 hz related to the music.

 

[RayDunzl]

As with most everything, it depends... I threw a lot of cone area at the low notes (experiment) in order to reduce (by -9dB) the output level of the individual drivers, compared to a single driver...

I have a sealed 12" woofer in the mains running in parallel with some cheap 15" subs. Here is 23Hz, the port tuning of the subs.

Distortion goes up with higher SPL levels, but 90dB with next to none is not bad.

Ambient noise (THD+N) overwhelms the harmonic errors above.

 

[stalepie]

As with most everything, it depends... I threw a lot of cone area at the low notes (experiment) in order to reduce (by -9dB) the output level of the individual drivers, compared to a single driver...

I have a sealed 12" woofer in the mains running in parallel with some cheap 15" subs. Here is 23Hz, the port tuning of the subs.

View attachment 10584

Distortion goes up with higher SPL levels, but 90dB with next to none is not bad.

Ambient noise (THD+N) overwhelms the harmonic errors above.

I noticed this guy wrote, "Instruction - Set listening levels to 74dB/A."

Might that be why? I always set listening levels to whatever I want when listening to anything...

I mean in the description of the video. I would paste the link without embedding if I knew how.

 

[RayDunzl]

I noticed this guy wrote, "Instruction - Set listening levels to 74dB/A."
Might that be why? I always set listening levels to whatever I want when listening to anything...

Of course we usually play things back at whatever level we want to.

Perhaps that is a calibration level, so you can play back the recording at the same Sound Pressure Levels at which the microphone recorded the material. Maybe not a "recommended" level, just a "this is what it was" level.

Earlier in the life of this site, a member posted this thread: https://audiosciencereview.com/foru...2-0-master-file-giveaway-for-asr-members.695/

His technique is to use the same recording setup for anyone ("classical" style, mainly) he is going to record in his studio.

At some point, he provided calibration information to the effect that the playback should be referenced so that a -20dBfs pink noise signal should produce 75dB SPL in the room (if I remember correctly). With that playback level, you aproximate in your room the same level as was presented to the microphones in his studio.

The exception was his recording of a drum solo, and he chose to reduce the recording levels by 20dB. I recalibrated for that (I forget exactly how, it might be in the thread), and the result was 116.9dB peaks in my room here (dangerously loud, and only played momentarily, and it did sound like there was a drumkit in the room with me).

Unfortunately, he disappeared after a while. I hope it wasn't my fault.

http://www.playclassics.com/about

http://www.musicstry.com/

 

[DonH56]

As far as musical instruments, a flute produces about the closest thing to a pure tone IIRC. At least when I last looked at the waveforms. And depending upon the player, etc.

 

[RayDunzl]

As far as musical instruments, a flute produces about the closest thing to a pure tone IIRC. At least when I last looked at the waveforms. And depending upon the player, etc.

Flute examples here: http://hyperphysics.phy-astr.gsu.edu/hbase/Music/flutew.html

---

My bottle: https://audiosciencereview.com/forum/index.php?threads/distortion-in-loudspeakers.1297/#post-33611

Kahlua Bottle:

 

[stalepie]

Of course we usually play things back at whatever level we want to.

Perhaps that is a calibration level, so you can play back the recording at the same Sound Pressure Levels at which the microphone recorded the material. Maybe not a "recommended" level, just a "this is what it was" level.

Earlier in the life of this site, a member posted this thread: https://audiosciencereview.com/foru...2-0-master-file-giveaway-for-asr-members.695/

His technique is to use the same recording setup for anyone ("classical" style, mainly) he is going to record in his studio.

At some point, he provided calibration information to the effect that the playback should be referenced so that a -20dBfs pink noise signal should produce 75dB SPL in the room (if I remember correctly). With that playback level, you aproximate in your room the same level as was presented to the microphones in his studio.

The exception was his recording of a drum solo, and he chose to reduce the recording levels by 20dB. I recalibrated for that (I forget exactly how, it might be in the thread), and the result was 116.9dB peaks in my room here (dangerously loud, and only played momentarily, and it did sound like there was a drumkit in the room with me).

Unfortunately, he disappeared after a while. I hope it wasn't my fault.

http://www.playclassics.com/about

http://www.musicstry.com/

I wish I had more to say to that, but it looks very interesting. I'll have a read over. Thank you for linking. I'm trying one of their demo tracks just to see once again if I can hear a difference between 16/44 and 24/96.

 

[stalepie]

Of course we usually play things back at whatever level ya want to

Why not just put two microphones on the ears of the pianist? there are binaural recordings like that I presume? But if he leans toward the piano and tilts his head the soundfield will become all lopsided which would be nice to hear.

Ray Charles would shake his head back and forth and the stereo field would bounce back and forth and Gould would sound real intimate as he murmurs close to the keys