We Need To Talk About Ones And Zeroes

If some tweeter (super or not so super)  played a 29khz tone and a 30khz tone simultaneously, you will hear it as a 1khz tone (doppler whatever), well within your audible range...no matter if your ear doctor told you that your ears don’t work after 14khz and above.

Same goes for more misinformation being spread on @cooper52 ’s thread where some dudes are telling him that there is no musical information below 30hz (facepalm) and a sub getting down to 10hz is meaningless...

With this very complex amalgamation of frequencies overtones, undertones, whatever... referred to as music, one could never never be too sure of anything these days...

I wish I could create a graphic or an animation about this but...that would be too much unnecessary work for a forum thread.

Not at all, in fact I’m curious about the super tweeters after reading @lalitk ’s eloquent description in his virtual system page.

 

Something I would have assumed was not for me due to my hearing threshold no longer having a 2 in front of it (at least it still has 5 figures!), but cymbals can produce harmonics into the 70 KHz range. Wonder if other instruments benefit similarly from super tweeters.

@mdalton 

Congratulations on your fine purchase. I did look into MJ Acoustics before buying REL’s. I do like their high quality build and bespoke veneer finishes. 

My experience with Tannoy’s super tweeters is nothing but positive. They have added a refined sense of air and spaciousness to my Canterbury’s. Are you likely to hear more decay, space around instruments and top-end shimmer on things like cymbals or strings….I guess, it would come down to your listening position and room acoustics. My listening position is 9.5 feet away, and the super tweeters are positioned roughly at ear level when I’m seated. 

With careful positioning of super tweeters, the benefits are obvious especially with acoustic, ambient and jazz recordings. 

I did watch Kevin’s YT video, I must admit, FYNE Audio super tweeters adjustability and omnidirectional design is quite impressive. I’d expect it to deliver a similar or better enhancement due to its omnidirectional design. If your speakers sounds bit rolled off or closed-in up top, they might be the right fit. Are they absolutely essential, only you can decide after careful integration with your speakers. I do know, my super tweeters are inseparable from my Canterbury’s. 

Let us know if you end up trying it—I’d love to hear what you think!

@deep_333 

where some dudes are telling him that there is no musical information below 30hz (facepalm) and a sub getting down to 10hz is meaningless...

The organ in the Sydney Town Hall has a 64-foot pipe which can be felt if not heard at about 10-Hz.  Stuart pianos from Australia can go down to 16-Hz.

Some organs that don't have the space or money for long pipes make use of your 'doppler' effect to produce low notes from two high-frequency (above audble) pipes.  It is really an interference effect, not true doppler which is caused by a speed difference between a source and a listener ...

Richard, i wasn’t just referring to individual instruments like a huge organ that went infrasonic on its own.

I was referring to the same ’interference’ (if we need to use a word) effect that happens on the supertweeting end also occurs on the infrasonic end.

i.e. the case of a 10 hz tone perhaps from 90 hz and a 100 hz tone played together, a 15 hz tone from other pairings and so on....i.e infrasonic ranges that could be affected from frequencies that are typically attributed to the audible range.

Strangely enough, this type of phenomenon was first described to me sometime in the 90s by a Hindustani musician when he was attempting to explain some attributes of a raag he played....I am sure the guy had never seen a measurement tool in his life...stuff that gets passed down to them by word of mouth from his teacher and the one before him and the one before him...I am a violin player and i was always baffled by the sound of their instruments (don’t have another lifetime to spare for learning their things unfortunately).

I visualize it to be an audible "spread" of sorts stemming from tones in supposedly both audible & inaudible ranges

One could ’never be too sure’ like those measurement guys on a certain other forum...y’know. They are so certain about everything and what they do not know yet may not exist apparently (scientists n all!).

The organ in the Sydney Town Hall has a 64-foot pipe which can be felt if not heard at about 10-Hz.  Stuart pianos from Australia can go down to 16-Hz.

Some organs that don’t have the space or money for long pipes make use of your ’doppler’ effect to produce low notes from two high-frequency (above audble) pipes.  It is really an interference effect, not true doppler which is caused by a speed difference between a source and a listener ...

@jeffbij re "Even a CD player has safeguards to guard against read errors, it’s called oversampling."

CD error correction is based in Cross Interleave Reed Solomon coding.

Oversampling is primarily used to allow shallower slope anti-aliasing filters.