"The more I learn, the less I know..."

[ultrawomble]

Lest we get complacent & accept everything that is in that JJ presentation as final, there are other researchers with different viewpoints & experimental support. Some interesting papers can be found here http://www.neuroscience-of-music.se/engH.htm

Interesting that some "peer-suppressed" publications are included:

http://www.neuroscience-of-music.se/publications.htm

 

[darrenyeats]

Unless the recording has been done naturally, with just a pair of microphones, or better still, a single Soundfield microphone, the chances of there being any real depth to the recording is pretty unlikely.

To me, the best future for home HiFi is in trying to recreate the Soundfield at a recording. However, modern music doesn't lend itsef to that, as it's constructed track-by-track, close miked and pan-potted so if Stereo is ever to get beyond what we have now, it requires a complete change in the way music is made and recorded.

Call me old fashioned (!) but for me the solution is recordings that are put together more naturally, as you put it, rather than more technical solutions attempting to fix or cater for aspects of modern recording fashions. It is the modern fashions and techniques which need to be fixed not the hardware.

I'm not against multi-track recording per se, I am talking about the abuse of close mics, dynamic compression, ham-fisted equalisation, Auto-Tune etc.
Darren

 

[sergeauckland]

Call me old fashioned (!) but for me the solution is recordings which are put together more naturally, as you put it, rather than more technical solutions attempting to fix or cater for aspects of modern recording fashions. It is the modern fashions and techniques which need to be fixed not the hardware.

I'm not against multi-track recording per se, I am talking about the abuse of close mics, dynamic compression, ham-fisted equalisation, Auto-Tune etc.
Darren

No disagreement from me there! However, that will still limit us to conventional stereo, with all its limitations and compromises. If we want to move on, then trying to recreate the Soundfield of a performance, I think, is the way to go. However, as I mentioned before, this requires a complete rethink of how recordings are done and I think we've now gone too far to change.

S

 

[Ciunas Audio]

No disagreement from me there! However, that will still limit us to conventional stereo, with all its limitations and compromises. If we want to move on, then trying to recreate the Soundfield of a performance, I think, is the way to go. However, as I mentioned before, this requires a complete rethink of how recordings are done and I think we've now gone too far to change.

S

I agree, some wrong turnings seem to have been made in the past for commercial or other reasons! So I guess we are left with trying to achieve what we can given these restraints.

 

[Werner]

Some interesting papers can be found here http://www.neuroscience-of-music.se/engH.htm

Quite. Perhaps you can provide us with a summary of where they deviate from the summary in JJ's presentation?

 

[Ciunas Audio]

Quite. Perhaps you can provide us with a summary of where they deviate from the summary in JJ's presentation?

If you are REALLY interested then look at this paper http://www.plosbiology.org/article/info:doi/10.1371/journal.pbio.0020337
Hearing: Travelling Wave or Resonance?
Martin Braun continues this work, I believe!

JJ states "It’s a travelling wave filter, made out of biological tissues."

As you well know, it would be foolish to assume that many theories, research initiatives & different viewpoints won't arise along the way. This is the nature of science! - there may be other points of departure from JJ's summary of the field but not as fundamental as this one.

Yes, I know that this is an old theory but not fully settled as yet "Two prominent theories—sympathetic resonance, proposed by Hermann Helmholtz (1885), and travelling waves, proposed by Georg von Békésy (1960)—need to be distinguished (Figure 1). In a nutshell, are there tiny, independently tuned elements in the cochlea, like the discrete strings of a piano, that are set into sympathetic vibration by incoming sound (Helmholtz), or is the continuously graded sensing surface of the cochlea hydrodynamically coupled so that, like flicking a rope, motion of the eardrum and middle ear bones causes a travelling wave to sweep from one end towards the other (von Békésy)?"