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From: Jan Panteltje <alien@comet.invalid>
Newsgroups: sci.electronics.design
Subject: Re: 80dB now but still needs improvement at 1KHz
Date: Thu, 07 Nov 2024 06:12:55 GMT
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On a sunny day (Wed, 6 Nov 2024 16:43:08 +0000) it happened
liz@poppyrecords.invalid.invalid (Liz Tuddenham) wrote in
<1r2m054.1q0xoeb13sbyfqN%liz@poppyrecords.invalid.invalid>:

>Bill Sloman <bill.sloman@ieee.org> wrote:
>
>> On 7/11/2024 1:50 am, Liz Tuddenham wrote:
>> > Bill Sloman <bill.sloman@ieee.org> wrote:
>> > 
>> > [...]
>> >> LTSpice - in the right hands -
>> >> can help you understand what's going on on the bench quite a lot faster
>> >> than bench work on it's own.
>> > 
>> > It can help you understand what *should* be going on but bench work shows
>> > you what is really going on and it is up to you to understand why.
>> 
>> But quite a lot of what you need to understand in bench work is captured
>> by a decent simulation, and a whole lot faster than you can capture it
>> on the bench.
>> 
>> > learning by benchwork is slower because it is complicated by having to
>> > deal with reality.
>> 
>> Simulations capture quite a lot of what is going on on the bench.
>> 
>> Sometimes the reality you have to deal with is easier to dig out of a
>> well-set up simulation because you can fiddle with stuff in the 
>> simulation that you can't twiddle on the bench.
>> 
>> A great deal of electronic design is getting the right concepts 
>> together, and while bench work is usually a safer way of doing that, it
>> can also be quite a lot slower.
>
>Yes, that was the point I was trying to make, it is slower but safer and
>more comprehensive.
>
>
>> The subjectivist audio people get quite sentimental about what their 
>> golden ears tell them. Peter Baxandall was an objectivist.
>
>Most of the fundamental progress in quality audio has been done by
>objectivists.   Subjectivists enjoy playing about with it, but they
>rarely discover more than a small part of the truth and usually
>misunderstand the fundamentals of the process.
>
>When PGAH Voigt invented the moving coil cutterhead (which was later
>'stolen' by Arthur Haddy to become the Decca FFRR system and then
>'stolen' again by Arnold Sugden to become the Connoisseur cutterhead),
>he didn't have a signal generator or an objective source of sound.
>Rather than rely on subjective effects, he equipped a piano with a
>weight which could be dropped on the keys to generate a consistent sound
>so that he could make objective measurements.
>
>The BBC did a great deal of objective research on loudspeakers because
>they found that different studios and microphones sounded better on
>different loudspeakers and they weren't content to just accept this as
>subjective audio folklore.  That research gave us a step improvement in
>the quality of loudspeaker drive units.
>
>I recently did a great deal of work to get the best bass response from a
>loudspeaker in a small cabinet.  When I demonstrated it to a group of
>record enthusiasts, one of them complained that it was playing notes
>that weren't on the records.  I eventually discovered that he had always
>listened to those records on a clockwork gramophone which, in spite of
>its huge exponential acoustic transformer,. lost the bottom couple of
>octaves.

Speakers and room acoustics...
I have some, everything is different, should be.
I liked the Quad electrostats, just have some chaep bass-reflex boxes now.
Much on bluetouth headphones these days listening to teefee.
Also when I practice playing on my keyboard, big Sennheiser HD201 headphones,
can make mistakes without upsetting Annie Whan.
Else Annie starts singing along at times.