@atmasphere The principle we are discussing is the cornerstone of digital signal processing. You are really doing yourself a disservice here.
Striking a balance between musicality and resolution
As my years and experience in this hobby continue to grow I notice a divergence between those seeking extreme resolution and detail from their music reproduction systems and those in search of maximum musicality.
In theory, high-end audio systems should provide more than garden variety stereo systems. In my view that means more detail and information should be heard from a high-end music reproduction system than one hears from ordinary HiFi stereo systems set ups. BUT is there such thing as too much resolution and detail in a stereo system’s sound presentation?
Some people feel that a less detailed presentation that is easier for your brain to process has better flow and provides more enjoyable listening.
So there is the dichotomy. Should one pay more to hear less? Can a frequency response performance that is curtailed at both frequency extremes be desired and praised?
Those that seek a “more musical” presentation usually point to their belief that that is how they hear live un-amplified acoustic music in the real world. In nature, high frequencies attenuate and decay with distance from the source and sound waves get absorbed, diffracted, reflected, and diffused by the environmental factors and landscapes; so they are not wrong in stating that in the real world the sound of music is less detailed and extended. The issue is that when we listen to our music reproduction systems at home we are not listening to live un-amplified music in a concert venue, but rather professionally produced audio recordings typically recorded with close-microphones techniques.
So the question is, do we want our systems to reproduce the sound on the commercial audio recordings accurately or does one want hear the sound the way one thinks that it should sound?
Lucky for me, I have enough systems at home that I have been able to design, set up, and tune them for different targeted resultant sound, sound presentation, and sound qualities. For instance, my OKTAN6 ultimate horn system is a dissecting microscope, my Pinnacle horn system aims at extreme musicality, and my WAAR reference system is a chameleon, which can be adjusted to sound exactly how you want it to sound in real-time.
My “test-bed” system takes on the sound character and sound qualities of the components in use and it is excellent for evaluating what new components have to offer or bring to the table in terms of sound qualities. But with the Acapella TW-1S ION plasma super-tweeters extending the high frequencies, the TBI Emperor subwoofers extending the low frequencies, and the highly detailed & nuanced Digital Audio Denmark AX24 DSD dac streaming HQPLAYER as the source, the “Test Bed” system is a highly resolving system.
As with everything else in life, is there a happy medium or compromise that gives you the best of those worlds? I believe that there is and that great music reproduction systems can be tuned to strike a balance between musicality and resolution. If one listens to the evolution of my OKTAN6 ultimate horn system for instance you can hear that the fine tuning is driving the sound in that direction.
So during last night’s listening session I adjusted the sound of my “Test Bed” system to a more musical sound presentation. The “Test Bed” system is always in flux so it allows me to experiment, explore, tweak, tune, and have fun with it.
Here is an audio recording from last night’s listening session that captures the revised sound presentation and conveys the sound qualities that exemplify a more organic sound versus a more delineated & resolved sound presentation:
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@atmasphere The world didn’t turn digital by mistake. I’m in disbelief by your lack of understanding of the basic principles. |
@atmasphere Ralph, so that you hear it from another source other than me:
No, Digital Signal Processing (DSP) components like transistors, diodes, and semiconductors generally do not obey Ohm’s Law because they are non-linear devices where current-voltage (I-V) relationships aren’t a constant ratio, unlike resistors; DSP uses these non-ohmic components to create complex functionalities (amplification, switching, logic), not simple linear resistance. Ohm’s Law ( V=IR 𝑉=𝐼𝑅) works for ohmic materials (like simple metals), but DSP relies on controlling current flow non-linearly. Why DSP Components Aren’t Ohmic:
Where Ohm’s Law Does Apply in DSP:
In essence, DSP leverages the limitations and non-linear characteristics of semiconductors (which break Ohm’s Law) to build sophisticated digital and analog signal processing systems. |
I know that my own words will not convince you of my arguments about acoustics...
Here two questions from your thesis (about "direct sound" only with no room acoustic controls) answered by A.I. :
Question: Is "direct sound" experience without any room acoustics control ideal ?
answer:
A "direct sound" experience without room acoustics control is
not ideal for high-fidelity listening, mixing, or recording. While direct sound is the "purest" energy because it travels straight from the speaker to your ears, in an untreated room, it is immediately compromised by uncontrolled reflections. Why an Untreated Experience is Sub-Optimal
The Role of "Direct Sound" vs. "Room Sound"
When Might it be "Ideal"?
The only scenario where a purely direct experience is ideal is in an anechoic chamber (a room with zero reflections). However, humans often find this environment unnatural and fatiguing because we are accustomed to hearing some natural reflection.
For a more accurate experience without permanent room treatment, high-quality headphones are often recommended as they bypass room acoustics entirely.
These articles discuss the impact of room acoustics on audio fidelity and how treatment ensures direct sound predominates for accurate reproduction.
Question:
Is direct sound without room acoustic control well enough if the brain does a wonderful job of arbitrating reflected and refracted sounds in temporal phase ?
Answer:
While the brain does an extraordinary job of managing complex acoustic environments, relying solely on its "arbitration" without room acoustic control is
not well enough for critical listening or accurate audio reproduction.
The brain uses mechanisms like the Precedence Effect (or Haas Effect) to help us function in reverberant spaces, but this process has significant biological and perceptual "costs" that compromise audio fidelity.
1. Perceptual and Cognitive "Costs"
2. Limitations of "Brain Arbitration"
3. Physical Realities the Brain Cannot Fix
Summary: Accuracy vs. Functionality
The brain's ability to arbitrate sound is evolved for survival and communication (e.g., understanding speech in a cave), not for analytic accuracy. For professional or high-end listening, room acoustic control is essential to ensure the brain receives a clean, high-fidelity signal that doesn't require constant cognitive compensation.
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Right- the cornerstone of DSP is that its unaffected by Ohm's Law...- 512 posts total