why don't you watch the videos i posted up for a start....i thought you knew all these very basic theories.....
video is an hour, any basic answers around...
why don't you watch the videos i posted up for a start....i thought you knew all these very basic theories.....
video is an hour, any basic answers around...
Indeed, as am I (see signature).
Frankly, the dynamic range of recorded music is the mountain, and the discussion of this particular thread is the molehill. I am glad the thread has ''de-railled'' because it's now talking about something of actual merit.
If Tony wanted to make a ''sticky'' in which we discussed the various releases of the same album, and which version had the greatest dynamic range - this would be a useful pot into which people could dip. .
For example, if you wanted to buy a copy of Curtis Mayfield's 'Superfly' on CD - wouldn't you like to know whether the 1983 mastering was significantly better than the 1991 mastered copy?
I damn would.
That's the kind of information you used to get in the Penguin Jazz guides about Vinyl, but we need a resource for it for CD. Someone please take my idea and run with it. I am not copyrighting it!
That's the kind of information you used to get in the Penguin Jazz guides about Vinyl, but we need a resource for it for CD. Someone please take my idea and run with it. I am not copyrighting it!
Teddy Ray. Here's a screen grab of one of a series of tracks that you uploaded links to on Wigwam a week or so back. These were recordings you had made of Magnolia Electric Company (in Germany?)
I do like this music but it was a shame you let the levels run so high. Odd as well since presumably you weren't trying to 'pitch' these at anyone. Doesn't your equipment have meters to prevent this?
Still, who really cares eh? Just a few silly "gear infatuated" audiophiles indulging in "a giant orgy of wang measuring , sheldrake mysticism, voodoo, and distance reiki coupled with new age philosophical rambling" maybe.
But what do they matter?
Alan Shaw once told me his company makes 8 Harbeth 40.1 loudspeakers, a week....
Try setting 'View/Show Clipping' for some added drama.Darryl, here's the track opened in Audacity.
Are you sure? That's a hell of a lot of large and very specialist high-end loudspeakers by anyone's standards. If that's correct I wonder how many P3ESRs they make? My money would be on that being their biggest seller by a mile.
Are you sure? That's a hell of a lot of large and very specialist high-end loudspeakers by anyone's standards. If that's correct I wonder how many P3ESRs they make? My money would be on that being their biggest seller by a mile.
Rob,It depends what we are trying to establish. But I think it needs much thought to be of any real value.
If we are trying to establish that 'all amps sound the same' we never will because they simply don't. The most vocal on all sides will I think agree on that.
Why not keep it simple and kill two birds with one stone here? What about using say a naim 72/140 versus a naim 62/140? Or 32.5/140 versus 42.5/140 would be even better, as I believe I can tell a 32.5 from a 42.5 quite easily.Rob said:So we can look at this in a number of ways:
Do amplifiers which measure similarly (criteria to be set) sound different?
That's by far the area where the biggest disagreements are seen. I'd suggest it is also the one area where this test could be most useful. The vast majority of Harbeth owners will be using SS amps form Quad, Arcam, Cyrus, Cambridge, Naim etc. In other words, designs where you could specify a narrow measured variance, yet where large sonic differences are often claimed.
Alternatively, you could try to establish how different amplifiers need to be in certain key measured areas for the difference to be audible. That's also interesting but I'd suggest not really within the remit of this test. it would require considerable time and effort to produce anything worthwhile IMO.
This is to some degree what the old James Moir test sought to establish, with a valve amp at one end and a (then) modern SS at the other.
So I think some clarity is required over exactly what is being tested, because if its the idea that 'all amps sound the same' then its a complete waste of time, though it could be a very easy win for someone wanting a pair of Harbeths. Feck, I might even enter myself if that's the case!
Fine. I'm perfectly at ease with that. I'd appreciate it though if you'd stop going on as though you think I'm a believer in daft stuff like tying a knot in an interconnect is a worthwhile improvement, which is how it seems from the "tone" of your posts to me a couple of days ago when I last checked the forum.@Brian no tough guy stuff, just saying what I think. Family trait to say things bluntly.
I don't listen to mainstream music, everything I listen to is new, and I really fail to see just what the problem is. there is so much "underground" music out there that bitching and moaning about "the loudness war" is like standing outside of fort knox, with full access, and complaining about how small your gold chain is. so weird, man.
for what it's worth i have heard some of your amps and thought they were expensive for the audio quality they put out....which i was disappointed by because i like your forum persona and the amps looked nice and well built....but the sound was meh!