| Search | Login/Register
   Home » Playback Listening » Attention Sound Engineers (compression and loudness) (48 posts, 3 pages)
  Print Thread | 1st Post |  
Page 2 of 3 (48 items) Select Pages:  « 1 2 3 »
   Target    Threads for related reading   Most recent post in related threads   Forum  Replies   Views   Started 
  »  New  Be careful: Imaging vs. Compression..  Compression vs. imaging...  Playback Listening  Forum     23  219483  10-24-2005
  »  New  A tribune to Transient Evenness or …..  A tribune to Transient Evenness or …...  Playback Listening  Forum     0  17460  08-20-2006
  »  New  How to USE “Resonating Oops” in loudspeakers..  Injection?...  Horn-Loaded Speakers Forum     184  1470063  02-28-2007
  »  New  Contributing factors in compressed sound..  Contributing factors of compressed sound....  Audio Discussions  Forum     3  45492  08-23-2007
  »  New  An objective tool to trace gap better horn rate and cro..  An objective tool to trace gap better horn rate and cro...  Horn-Loaded Speakers Forum     0  16039  10-05-2007
  »  New  The nature of "soundstage" in audio...  My goals beyond...  Playback Listening  Forum     22  164326  02-03-2008
  »  New  The Evolution (or Anti-Evolution) of FM Broadcast..  I know these people...  Off Air Audio Forum     3  42034  06-22-2008
  »  New  How idiots destroy sound...  Playing with knobs...  Audio Discussions  Forum     9  62835  10-12-2008
  »  New  DeCompressor - Puncher Processor for WaveLab..  Talking about the free cheese …...  Didital Things  Forum     1  29964  10-04-2009
  »  New  Why people still sell compressed music online?..  Another example of barbaric idiots who run the show!...  Didital Things  Forum     2  27684  09-26-2010
09-19-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 21
Post ID: 5333
Reply to: 5331
An alligator is a “bigger fried fish".

Yoshi, someone a few weeks ago posted a very good article on a pianist perception of added reverb. Anyhow, there is a bigger fish to fry regarding your ORIGINAL-IMAGE BIT-PROCESSING – like in anything else it is not the subject of machines but the stupid people who use machines stupidly - here is my favorite topic!

Sure, the noise redaction is not good and your Naoya Hirabayashi does not say anything new. Still, the properly implemented noise redaction is perfectly fine. Do not ask me what constitutes “properly implemented noise redaction” – I do not know but I have seen when it was done well, with no negative impact. It means it is not the faulty concepts but just faulty implementation in 99.99% of all times. Sure, to run Cedar Audio Restoration or NoNoise programs does not requite a lot of brain or skills but the result is very pinpointingly bad. The people who do well sounding nose redaction employ more sophisticated tools and more sophisticated methods of result control.  I personally still prefer do not do DSP of any kind but if to embrace a task to reduce noise (with commercial mastering) then it should be done properly…

The same goes with ORIGINAL-IMAGE BIT-PROCESSING. When DG introduced it with their “Originals” series the “Image-Bit” sounded phenomenal however if you do today into the store and by DECCA’s ORIGINAL-IMAGE BIT processed CD then you will see that they are horrible garbage, even those that care the “Originals” logos. The difference is not in technology but in the people who use it. In 90s DG invited musicians and conductors in the mastering rooms an offer them to overview the possess of re-mastering. The mandatory participant of the mastering team during those years was a “tone-master” – a person who have musical and listening expertise and who navigated the Sound to where it should be. Presumably since the re-mastering nowadays is more like McDonalds job for those big companies the cultural elite is gone and in the place of people who know about sound they have nodays the Morons with diplomas of electricians. The CDs that they produce and the sound that they “shape” is a pure evidence of what is going on in their heads….

So, it is not mashies who are guilty but people…. Ironically I do not really blame those people… To do so is like to blame an alligator that he bite your leg off….

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
09-19-2007 Post mapped to one branch of Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 22
Post ID: 5335
Reply to: 5267
A contra-compression tool – the Injection Channel.

I know there are some people who would read the following and will consider that I am out of my mind but it is OK by me. I have no convincing explanations of the phenomena but I might testify that the phenomena does exist   - my Injection Channel does improve the subjective perception of dynamics and the compression with Injected Macondo bothers much less then without Injection.

It should not be a believable statement for others but others did not hear what the Injection Channel does in my room. If some of your find themselves in Boston then I can VERY EASY TO DEMONSTRATE how my Injection subjectively “decompress” Sound (to a degree of course).  I might go into further explanation why I feel it happens (I sincerely believe that the Injection, at least as it implemented in my room, acts as acoustic dithering) but since no one witness the effect it would not be necessary.

So, since no one I have seen ever made any claims or attempts to USE SUCCESSFULLY the acoustic dithering via Injection Channel I have no people to talk about it further. However, I think that the ludicrous fact that proper Injection “helps” against compression (at least it subjective perception) should be brought to the attention of the readers of my site…

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
09-22-2007 Post does not mapped to Knowledge Tree
jessie.dazzle


Paris, France
Posts 456
Joined on 04-23-2006

Post #: 23
Post ID: 5349
Reply to: 5335
Compression bandages
While my attempts at this stage are very crude by comparison (injection channel experimentation is not yet a main priority), I have from time to time listened more with a very crude sort of injection channel plugged into the system.

With this device, it is obvious that compressed recordings are more tollerable...My waf also noted the effect. I am only using one such device.

In my case, I don't know if the "help" is due to some sort of dithering or if it is just plain masking.

Also, compressed recordings sound almost good (considering it is only one speaker) when playing them only via this device, with no other channels in use.

I will take this experimentation more seriously, making a proper device and positioning it correctly, once other priorities are met.

Another thing that seems to make compressed recordings more tollerable:

The other day I tried letting the 180Hz lower-mid horn do more (driver not attenuated) and the 400Hz upper-mid horn do less, by moving the crossover points up. I need to take time and listen to it more with a clear head. I don't yet know if it is better or worse when playing well-recorded music. I also have not measured the output. My motivation in trying this was to let the the upper-mid S2 concentrate only on the upper half of the mid-range.

jd*




How to short-circuit evolution: Enshrine mediocrity.
09-22-2007 Post does not mapped to Knowledge Tree
jessie.dazzle


Paris, France
Posts 456
Joined on 04-23-2006

Post #: 24
Post ID: 5350
Reply to: 5349
Compression bandage Part II
Correction :

In the previous post near the end, I should have written as follows:

The other day I tried letting the 180Hz lower-mid horn do more and the 400Hz upper-mid horn do less, by moving the crossover points up (I do not attenuate the lower-mid channel in any case).

Also, tolerable has only one L!

jd*


How to short-circuit evolution: Enshrine mediocrity.
09-22-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 25
Post ID: 5351
Reply to: 5349
It all depends from many factors….

 jessie.dazzle wrote:
I have from time to time listened more with a very crude sort of injection channel plugged into the system.

With this device, it is obvious that compressed recordings are more tollerable...My waf also noted the effect. I am only using one such device.

In my case, I don't know if the "help" is due to some sort of dithering or if it is just plain masking.

Yes, this is THE effect, what driver do you use for injection?

 jessie.dazzle wrote:
Also, compressed recordings sound almost good (considering it is only one speaker) when playing them only via this device, with no other channels in use.

Hmmmm, but it colored like hell…

 jessie.dazzle wrote:
Another thing that seems to make compressed recordings more tollerable: The other day I tried letting the 180Hz lower-mid horn do more and the 400Hz upper-mid horn do less, by moving the crossover points up.

Sure, it is how all horns work. You moved the MF horn further from the “horn boom”, further from the channel’s own EQ zone.

http://www.GoodSoundClub.com/TreeItem.aspx?PostID=4533

This is where the art of the building systems with horns kinks in as it is necessary to find where is the save balance between a desire to get more LF EQes from a horn but without picking the dynamic-compressing lower knee “horn choking”. When you play with “horn choking” you will see that 25Hz is matter…  It is the area where 80% of all horn makers demonstrate complete lack of senses. BTW, in some case some minor LF “horn boom” is acceptable if the lower channel provides a minor effect of… injection.  It all depends from many many many factors….

Rgs, 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
09-22-2007 Post does not mapped to Knowledge Tree
jessie.dazzle


Paris, France
Posts 456
Joined on 04-23-2006

Post #: 26
Post ID: 5352
Reply to: 5351
Mystery injection
Romy wrote :

"...what driver do you use for injection?..."

I don't know! I pulled the entire device (driver+enclosure) from the garbage in front of an old house... the enclosure is made so that I will have to break it open to see the rear of the driver... The front has no markings at all, but measures about 8"; it is very old, and has the magnet out in front of the cone like a phase plug... very strange conception. I will take the box apart some time and post the info here with photos. The box measures about 1.5 cubic feet.

"...but it colored like hell…"

Oh yes.

"...This is where the art of the building systems with horns kinks in as it is necessary to find where is the save balance between a desire to get more LF EQes from a horn but without picking the dynamic-compressing lower knee “horn choking..."

I can't wait to get the frames done and mount everything up, and start measuring and listening!!! They are taking a bit longer due to demands of the DAY JOB... also, I absolutely HATE building the same thing twice!

jd*


How to short-circuit evolution: Enshrine mediocrity.
09-23-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 27
Post ID: 5364
Reply to: 5269
The "Future of Music" by Spectrum.IEEE.org
The "Future of Music" by Suhas Sreedhar


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
09-27-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 28
Post ID: 5432
Reply to: 5267
Good Compression: Low Level Extension by Pacific?

I have to admit that I was experimenting last night with Pacific’s Low Level Extension and it was not bad at all. It would not be my last words as I would need the whole system up and running to see what is going on – the region where the Low Level Extension it operates is VERY demanding. However my initial feelings were very positive. The Low Level Extension is not EQ but a dynamic-range-sensitive EQ – quite brilliant idea – through I do not know yet how it will sound at full bloom. The classical CD of References Recordings are a good illustration how it works….Anyhow, it is very exiting feature to play with… though I do admit that it is a forum of a compression….

From Pacific Microsonics Operating Manual: (disregard the text mentioning HDCD – I do not use HDCD encoding neither A/D nor in D/A)

Low Level Extension

Low Level Extension is an average signal level based low level compression / expansion system used on HDCD 16-bit amplitude encoded recordings which very gradually raises gain a preset amount when the average signal level drops below a preset threshold. During HDCD 16-bit decoded playback the compression curve is expanded back to linear gain by the HDCD decoder using a precisely mapped inverse of the compression curve controlled by a hidden code, producing a dynamic range and resolution floor beyond 16-bit. During undecoded playback low level information normally lost by standard 16-bit players is preserved, providing more accurate timbral and spatial reproduction.

There are two modes of Low Level Extension, “Normal” and “Special”. Normal mode begins to affect the input signal 45 dB below peak level, gradually raising the gain 4 dB as the level drops over an 18 dB range. Special mode begins to affect the input signal 39 dB below peak level, and gradually raises the gain 7.5 dB over a 26 dB range. Normal mode is optimized to provide the best combination of decoded dynamic range and resolution and nundecoded compatibility. Special mode is designed to provide the best possible decoded dynamic range and resolution at some potential expense of undecoded compatibility. Typically, Special mode is used only for HDCD 16-bit master tracking with the assumption that the recording will be decoded to a 24-bit or 20-bit word length for digital post production before being re-encoded to HDCD 16-bit using Normal mode to produce a release master.

Wide Dynamic Range Jazz or Classical

This type of material typically has infrequent, short duration peaks such as snare drum rim shots, cymbal crashes, bass drum hits, etc. These types of short duration peaks can be limited by as much as 5 dB or 6 dB using Peak Extension with little audible effect during undecoded playback, allowing the average recorded level to be raised which improves overall resolution and fidelity.

Low Level Extension, set to Normal mode, should almost always be used with wide dynamic range material as it greatly aids in preserving the low level ambient and timbral information that gives “life” and naturalness to recordings.

With certain types of source material, such as a very low level passage in a noisy analog tape, Low Level Extension may occasionally cause an audible shift or “breathing” of the noise floor during undecoded playback. Low Level Extension can be turned off “on the fly” prior to such passages when the signal level is above - 30 dBfs, and turned back on afterwards, again when the signal level is above - 30 dBfs, to preserve the best possible fidelity for the remainder of the recording. However, with source material that is very noisy, Low Level Extension should be left off, as the noise of the source will set the resolution floor.

Rgs, Romy


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
03-16-2008 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 29
Post ID: 6919
Reply to: 5267
Instead of fixing technologies let kill the people.

A very good article on the subject that basically proves my attitude on the subject: it is not about technology but the idiocy of people who use the technology.

http://www.audiomisc.co.uk/HFN/ClippingOnCD/clipping.html

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
04-29-2008 Post does not mapped to Knowledge Tree
Andy Simpson
Posts 42
Joined on 10-21-2007

Post #: 30
Post ID: 7322
Reply to: 6919
It is a worrying state of affairs
 Romy the Cat wrote:

A very good article on the subject that basically proves my attitude on the subject: it is not about technology but the idiocy of people who use the technology.

http://www.audiomisc.co.uk/HFN/ClippingOnCD/clipping.html

The Cat


The term 'over-compression' is becoming very widely used in the recording industry.

It is slowly becoming politically correct to accept that gross distortion is not a good thing. It is not 'cool' to 'smash' a recording any more.

However, it is also politically correct to accept that although 'over-compression' is a bad thing, the 'right amount of compression' can 'improve' the sound of a recording.

In other words, nothing has changed.

Sound engineers want to DO something. They are rarely happy if a recording just sounds good after simply plugging in the microphones. They like to 'improve' it. They like to be 'creative'. The increasingly popular job title 'mixer' exists in testament to this.

The best engineers do nothing whatsoever. Their greatest skill is that of leaving the recording alone and forcing the mastering engineer to do the same.

Sound engineering is not a creative art.

Art is subjective.

Engineering is objective.

Andy
10-19-2008 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 31
Post ID: 8563
Reply to: 5267
Turn Me Up!™ - It has a lot of good links.
fiogf49gjkf0d

Turn Me Up!™ is a non-profit music industry organization campaigning to give artists back the choice to release more dynamic records. To be clear, it's not our goal to discourage loud records; they are, of course, a valid choice for many artists. We simply want to make the choice for a more dynamic record an option for artists.
Today, artists generally feel they have to master their records to be as loud as everybody else's. This certainly works for many artists. However, there are many other artists who feel their music would be better served by a more dynamic record, but who don't feel like that option is available to them.

This all comes down to the moment a consumer hears a record, and the fear that if the record is more dynamic, the consumer won't know to just turn up the volume. This is an understandable concern, and one Turn Me Up! is working to resolve.

http://www.turnmeup.org/

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
10-20-2008 Post does not mapped to Knowledge Tree
Andy Simpson
Posts 42
Joined on 10-21-2007

Post #: 32
Post ID: 8571
Reply to: 8563
The value of such a direction?
fiogf49gjkf0d
 Romy the Cat wrote:

Turn Me Up!™ is a non-profit music industry organization campaigning to give artists back the choice to release more dynamic records. To be clear, it's not our goal to discourage loud records; they are, of course, a valid choice for many artists. We simply want to make the choice for a more dynamic record an option for artists.
Today, artists generally feel they have to master their records to be as loud as everybody else's. This certainly works for many artists. However, there are many other artists who feel their music would be better served by a more dynamic record, but who don't feel like that option is available to them.

This all comes down to the moment a consumer hears a record, and the fear that if the record is more dynamic, the consumer won't know to just turn up the volume. This is an understandable concern, and one Turn Me Up! is working to resolve.

http://www.turnmeup.org/

The CaT


Note the use of the word 'loud' where 'distorted' would be more appropriate.

Also, the implication that this 'over-compression' is limited to a mastering issue is absurd (as absurd as the idea of engineering as art, where distortion is presented as an artistic choice).

Andy
10-20-2008 Post does not mapped to Knowledge Tree
Gregm
Greece
Posts 91
Joined on 02-16-2005

Post #: 33
Post ID: 8573
Reply to: 8571
The loudest sells the most?
fiogf49gjkf0d
there are many other artists who feel their music would be better served by a more dynamic record
You put it politely -- diplomatically.
It seems more likely that artists (& companies) feel that louder sells better. So Amplitude & distortion are considered good for sales.
10-20-2008 Post does not mapped to Knowledge Tree
scooter
Posts 161
Joined on 07-17-2008

Post #: 34
Post ID: 8587
Reply to: 8573
Even the Wall Street Journal recognizes there is a problem with recording engineers...
fiogf49gjkf0d
= Article Title
Even Heavy-Metal Fans Complain That Today's Music Is Too Loud!!!
They Can't Hear the Details, Say Devotees of Metallica; Laying Blame on iPods

= Wall St Journal

= September 25, 2008 (front page article)

"...Music released today typically has a dynamic range only a fourth to an eighth as wide as that of the 1990s. That means if you play a newly released CD right after one that's 15 years old, leaving the volume knob untouched, the new one is likely to sound four to eight times as loud. Many who've followed the controversy say "Death Magnetic" has one of the narrowest dynamic ranges ever on an album..."

http://online.wsj.com/article/SB122228767729272339.html


03-06-2009 Post does not mapped to Knowledge Tree
tuga


Posts 174
Joined on 12-26-2007

Post #: 35
Post ID: 9958
Reply to: 5267
Behind the scenes of a concerto recording
fiogf49gjkf0d
This promo movie opens a tiny window on the recording technique used for Vadim Repin's latest(?) recording of Brahms Violin Concerto w/ Chailly and the Leipzig Gewandhaus Orchestra:
 
http://www2.deutschegrammophon.com/special/?ID=repin-brahms


"Science draws the wave, poetry fills it with water" Teixeira Pascoaes
04-09-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 36
Post ID: 10195
Reply to: 5267
I think lately about POSITIVE benefits of SOME compression.
fiogf49gjkf0d
I do and it is not as black and while subject as it might appear…

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
04-09-2009 Post does not mapped to Knowledge Tree
Paul S
San Diego, California, USA
Posts 2,570
Joined on 10-12-2006

Post #: 37
Post ID: 10197
Reply to: 10195
Not Black and White, but...
fiogf49gjkf0d
The fact is, all orchestral processing/recording/broadcasting involves some sort of "compression", so it's really just a matter of how it's done.

I noticed a long time ago that good FM did a very "graceful" job of limiting, and I have to admit that even some of the modern digital algorithms/limiters seem to be keeping up the old standards.

Basically, good FM limiting is the opposite of what we get on too many recordings, which suffer from the "pumping" that is the result of "engineers" who "ride" the gain controls like cowboys on a Brahma bull.  Personally, I'd generally rather give up the extremes than suffer the stupid "pumping".

I also suspect that the FM limiting factors into good FM's unique and very cool sense of "space".  I admit being a little too smitten with this effect, to the point where late-night listening can feel downright self-indulgent.

Best regards,
Paul S
04-14-2009 Post does not mapped to Knowledge Tree
Andy Simpson
Posts 42
Joined on 10-21-2007

Post #: 38
Post ID: 10229
Reply to: 10197
Gain VS distortion
fiogf49gjkf0d
 Paul S wrote:
The fact is, all orchestral processing/recording/broadcasting involves some sort of "compression", so it's really just a matter of how it's done.


This is true in a more complete sense than I think was intended.

Aside from the compression in the microphone capsule itself we also have compression in the loudspeaker to contend with.

In other words, for a given playback SPL there is an inevitable level of compression (nonlinear distortion) in the loudspeaker, which can be 'traded' for compression processor distortion (nonlinear distortion).

This is where the monitors in the recording studio become important as the process of weighing the trade is largely un/subconscious (subjective).

In any case, the terms & conditions of the 'trade' are totally specific to the loudspeaker & listening level and while the average studio loudspeakers have extremely high distortion we will be faced with the 'gain vs distortion' compromise shown in most recordings.

Andy
04-15-2009 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 10,049
Joined on 05-28-2004

Post #: 39
Post ID: 10232
Reply to: 10229
It is not about compression but about how to do deal with it.
fiogf49gjkf0d

Let do not forget that acoustic space also have own compression… not to mention that the performing intend itself has own “compression”.

Anyhow, I kind of view noondays the whole subject of compression slightly different then I use to do it before. I agree that various type of compressions rule playback but my interest is what type of compressions they are and HOW the compression applied. To a degree a properly made compressions might be in fact a beneficial tool. Someone before proposed it but I discarded it – now I feel that the idea of full-of-sense compressions had own merit.

The most interesting aspect to me in whole idea of compression is not the compression itself – we people who sit in the end sound chain have very little control over it. What interests me is hot to organize playback DIFFERENTLY in order to make the playback to sound the most properly with this or that type of compression. The compression itself is like an input parameter of some kind of function and the playback shall react to compression and to be able to deal with it…

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
04-22-2009 Post does not mapped to Knowledge Tree
Andy Simpson
Posts 42
Joined on 10-21-2007

Post #: 40
Post ID: 10290
Reply to: 10232
Compression, not just amplitude
fiogf49gjkf0d
 Romy the Cat wrote:

Let do not forget that acoustic space also have own compression… not to mention that the performing intend itself has own “compression”.



The question of 'self-compression', where the performer moderates their performance, is the only form which does not introduce harmonic & non-harmonic artifacts.

All other forms of compression comprise a nonlinear system, which introduces both harmonic & non-harmonic distortion.



Anyhow, I kind of view noondays the whole subject of compression slightly different then I use to do it before. I agree that various type of compressions rule playback but my interest is what type of compressions they are and HOW the compression applied. To a degree a properly made compressions might be in fact a beneficial tool. Someone before proposed it but I discarded it – now I feel that the idea of full-of-sense compressions had own merit.


An interesting aspect to the idea of nonlinear systems (compressors/microphones/speakers/etc) is that the resulting distortion is cumulative, propagative & non removeable/correctable.


The most interesting aspect to me in whole idea of compression is not the compression itself – we people who sit in the end sound chain have very little control over it. What interests me is hot to organize playback DIFFERENTLY in order to make the playback to sound the most properly with this or that type of compression. The compression itself is like an input parameter of some kind of function and the playback shall react to compression and to be able to deal with it…


Regarding harmonic distortion, the general response is to roll-off the HF, but this is a poor compromise.

Regarding the non-harmonic distortion, there is no way to remove this after the fact. If the nonlinear system responds to 2k + 3k tones by introducing a 1k difference tone, there is nothing you can do about it without causing other problems.

For a demonstration of this, take your favourite digital compressor and set it up for some 'reasonable' amount of compression.

Next introduce a pair of sinewave tones (say 2k + 3k) and observe the introduction of harmonic tones (above) and non-harmonic tones (below).

Andy
Page 2 of 3 (48 items) Select Pages:  « 1 2 3 »
   Target    Threads for related reading   Most recent post in related threads   Forum  Replies   Views   Started 
  »  New  Be careful: Imaging vs. Compression..  Compression vs. imaging...  Playback Listening  Forum     23  219483  10-24-2005
  »  New  A tribune to Transient Evenness or …..  A tribune to Transient Evenness or …...  Playback Listening  Forum     0  17460  08-20-2006
  »  New  How to USE “Resonating Oops” in loudspeakers..  Injection?...  Horn-Loaded Speakers Forum     184  1470063  02-28-2007
  »  New  Contributing factors in compressed sound..  Contributing factors of compressed sound....  Audio Discussions  Forum     3  45492  08-23-2007
  »  New  An objective tool to trace gap better horn rate and cro..  An objective tool to trace gap better horn rate and cro...  Horn-Loaded Speakers Forum     0  16039  10-05-2007
  »  New  The nature of "soundstage" in audio...  My goals beyond...  Playback Listening  Forum     22  164326  02-03-2008
  »  New  The Evolution (or Anti-Evolution) of FM Broadcast..  I know these people...  Off Air Audio Forum     3  42034  06-22-2008
  »  New  How idiots destroy sound...  Playing with knobs...  Audio Discussions  Forum     9  62835  10-12-2008
  »  New  DeCompressor - Puncher Processor for WaveLab..  Talking about the free cheese …...  Didital Things  Forum     1  29964  10-04-2009
  »  New  Why people still sell compressed music online?..  Another example of barbaric idiots who run the show!...  Didital Things  Forum     2  27684  09-26-2010
Home Page  |  Last 24Hours  | Search  |  SiteMap  | Questions or Problems | Copyright Note
The content of all messages within the Forums Copyright © by authors of the posts