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Posted by Romy the Cat on
08-20-2013
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fiogf49gjkf0d I think it was Wagner who first incorporated in his composition the concept of masking. He felt that during loud sounds people are losing ability to recognize the instrumental complexity. Later on during the stupid mp3 times or digital compression, of as they call it “Perceptual Coding”, they “advanced” the idea and implemented stupid algorithms that toss bits in accordance with temporal masking, transmission mask, simultaneous masking… etc…
With our playbacks we do not compose music line Wagner did and we do not care to minimize the file sizes. Still, we do deal with the masking effects of psychoacoustics: our playbacks in one way or another “sink” and “confuse” sounds as Sound become very loud. In most of cased we do not play sound truly peak-laud but rather we hit somewhere 95-100dB and then begin to load our rooms with dynamic compression.
For sure the multichenala and multiamping is great tool to fight with all intermediations that complicate life during sound crashes and SET topology is great to let PS do not kill amps during crashes. Still, even with all theoretical advancements we do not have that ease and effortlessness that life sound had during the crashes… under right circumstances…
Ironically even with life sound sonic crashes might be unpleasant if you sit in wrong spot of concert hall or of the whole is not good. So, I wonder: what in concert halls makes sonic crashes unpleasant? Can we presume that if we do all our audio mumbo-jumbo correct then the discomfort that we experience during audio crashes have the same nature as they have at the bad concert hall? My observations do show that the best listening spot for audio installation (from channels mixing, room gain, imaging etc…) is not always the best location to experience a natural-like crash. In sweat spot sound frequently too direct to built up an interesting crash and I sometimes feel that I need to be a bit off the sweat spot, mostly behind, and then I have more interesting crash. Does perception of crash has to do only with volumes and acceleration of tonal pressure vs. dynamic pressure or it has to do with something else. Why the slightly idle tube better produce crashed then the properly loaded tube?
Many question not a lot of answers. I would like to point out that I imply properly implemented audio crashes not the typical fatly operation garbage. The satiations what the amp is clipping, the drivers jump into A2, posts create current suck out or VC begin to scratch magnets are not event considered.
The Cat
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