Last month of two I keep thinking about the super-meaning of lowest octave in sound reproduction. It is not about the importance of the lowest octave for sake of audio reproduction, there is a lot about it in other pleases of my site and anywhere else. I rather think about meaning of lowest bass and our ability to assess, to understand and to structure the lowest bass reproduction in the manner that would the most benefit the core of performing intentions.
In order to do targeted listing over the years I have developed a method when I put my hand on the body of a musical instrument - cello of grand piano – and while listening the play I try mentally low-pass the auditable component of perception. It is very difficult but with certain practice it is possible. The subject of my attention is the reaction may inner me lowers octave of sound reproduction. (There is catch in there – to do the same with physical contact with an instrument is also possible and illustrative but I have my own motivation to direct-collect mechanical vibration off the body of vibration transducers.)
I also practice to low-pass my Macondo at 35Hz with second order and increasing volume try to see what my playback dose in the lowest octave and what meaning the extracted lovers octave have in context of given performing or composing intention.
Sure, no one method of bass reproduction besides infinite baffles can do justness in here, the 16bit playback is also out of picture - ironically FM is the best souses for me for prober bass. The large room with longer reverberation time is very good help but it requires multiplying power very aggressively and with raise power other factors become too influential (where are our 112dB sensitive direct radiator woofers?)
Anyhow, it could be better or worse lowest octave but important is not quietly of it but adequate this lowest octave work in context of what you expect from music. It is not about comparing of low-passed perception s of live sound with perception of low-passed playback but rather about our own learning about our own needs and preferences for lowest octave’ structuring and utilization.
Rgs, Romy the Cat
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche