contradictory communication


some components have been described as warm and transparent. this is not possible. warm means subtractiion in the treble frequency range. transparency implies a balanced frequency response.

it is inconsistent to say warm and transparent.

it is inconsistent to say warm and detailed, because there is some loss of detail in the treble region when a component is described as warm.

i believe that as soon as you describe a component as warm ,there is some loss and one should be careful about any other adjectives used with the word warm.
mrtennis

Showing 1 response by audiokinesis

MrTennis, thanks for letting us know who you are. I went to audiophilia.com and read your "Accuracy and Musicality" article to get a better feel for where you're coming from.

I dropped syllogistic logic class nearly 30 years ago (seemed like the logical thing to do at the time), so can't say that I followed it all.

Being somewhat simple-minded (though hopefully not overly narrow-minded), I don't go through nearly as thorough an analysis as you do. My philosophy skills are probably at about an eighth grade level.

I start with the premise that at the present level of technology it's either impossible or impractical to recreate at the listener's ears the exact waveforms that would have been experienced at a live performance (or in the case of heavily processed recordings, at the "virtual performance" the artists intended).

My next premise is that not all departures from absolute waveform fidelity are equally objectionable to the ears. Certain measurably small deviations are are quite objectionable, and certain seemingly large ones aren't.

So my goal would be to recreate (as closely as is practical) the same perception as the listener would have experienced at a live performance (or at the "virtual performance" the artists intended). This calls for an exploration of psychoacoustics as well as acoustics when design trade-offs are made.

An example of mis-directed perfectionist zeal would be the pursuit of vanishingly low levels of total harmonic distortion via the liberal application of negative feedback, which in effect replaces large percentages of low-order harmonic distortion with small percentages of high-order harmonic distortion. This looks good on paper, but psychoacoustically is a step in the wrong direction because the ear finds even very small levels of high order distortion fatiguing.

So to sum up, I'm in favor of focusing on recreating the perception of a live performance rather than on recreating the exact waveforms experienced at the ears of the listener at a live performance.

Duke