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The sense of space at the beginning is as long as the speakers are placed a little distance, it is easy to find that the signals of the left and right speakers are different (maybe this is too easy); after moving the speakers or finding a good position for themselves, it seems It can be heard that there is sound between the speakers, and the sound is connected from the left speaker to the right speaker. The author calls this expression a "one-dimensional" sense of space.
If you divide the speakers more open, is it good? Maybe it's good, this "one-dimensional" sense of space can be widened at first, but it may be too open to connect, and there is a big hole, which is a pity: the author's experience is that this distance is limited by the room. In addition, there is a "best" distance, which allows the listener to feel the maximum width; the left and right speakers are divided into the middle and there will be a hole in the middle, which is close to the width and shrinks; if we reach this level, we can discuss "Two-dimensional".
Sitting at the listening point to see if the left and right speakers are symmetrical? Is the reflection of the left and right walls similar? What is the angle of the two speakers? If you fine-tune it, there may be a feeling of "depth".
Now I can't listen to the Long Dragon. I should be able to hear a "field" that extends to the back of the horn. Then I can call it "Two-dimensional".
"Three-dimensional"? Because what we pursue further is not just the thickness of the sound field, but the sense of space of the entire concert hall; this sense of space is not only to find the slope of the sound field (the orchestra is usually arranged on a stepped stage in the concert hall). The last percussion instrument is higher than the wood tube, and the battalion is higher than the string group...), but also the height of each instrument (I don’t believe that the cello sounds only one point, even The violin is also resonating with the whole piano!), and then go to the side walls, roofs, etc. of the entire concert hall, which is called the sense of space.
In front of the sense of hierarchy, it seems that the sense of space is the periphery of the sound field. The sense of hierarchy may be related to the relationship between the instruments in the sound field.
First of all, there must be enough depth of field. This is somewhat different from the meaning of "two-dimensional" mentioned above. The "two-dimensional" sound field refers to the position of the farthest instrument that can be heard in the listening place. If you take the orchestra, It should refer to the position of the percussion instrument; the "field depth" may be followed by listening to the first row of the orchestra and finding out the "distance" of the first and last rows of the orchestra.
This may not be clear enough. Some systems sound very far in the last row, but the first row is equally out of reach. This sound field is deep, but it is very shallow in terms of depth (some people call it depth) because The first and last rows of the orchestra feel close together. Some systems sound like the last row is not very deep, but the first row of the orchestra is very prominent, even highlighting the panel of the speaker, such depth can be considered very successful; if you can pull the last row away, then For example, Mr. Guan Liu said "reference level".
With the depth of field, it is further required that the relevant distances of the instruments in the sound field (in the orchestra) are correct: for example, what is the relevant distance between finding the wood tube and the viola? Does the percussion instrument extend to the last line of the violin? Are the several instruments in the wood tube group arranged in a row or are there points before and after?
In the author's thought, the level of induction is from a flat frequency response (it should be from the bandwidth that an arrow points to the layering sense). Please observe (it seems to be heard) that the distant vocals are different from the close vocals; plug one ear, use one ear to ensure that you hear "mono", and then judge the distance of the sound source Still quite easy! Even if the far-off person is loud and the nearer people speak quietly (as long as they can still hear it), they can also judge the distance, which means that this is not related to the overall sound of the sound, but the far-distance sound is attenuated by the air. (usually the higher the frequency, the more it will attenuate), and the sound attenuation of the near distance is small, so that our ears can use the overtone structure and tone to judge the distance of the sound body. (Editor's note: Judging the distance should also be related to the time difference between the sound reaching the eardrum)
Assuming that the recording is ok, the record should record the timbre of the various instruments plus the timbre changes caused by the space. If our system has a flat frequency response, we should be able to copy these timbre changes, so we can enjoy the layering .
Some people are in favor of making the high frequencies in the sound system a little less; indeed, it may be more pleasing, but it may also make the first row of the orchestra sound as far as the last row, losing the depth of field.
If there are two frequencies with a bar value? It may be that the arrangement of the instruments in the sound field will be disorganized, so that you can't enjoy the layering.
After the sense of positioning has a sense of hierarchy, the sense of positioning should also be small, but the sense of hierarchy seems to be easier to find in the music of the large compilation, while the sense of positioning is to find some small compilations to listen to; of course, the reverse can also be found, The author just said that it is easier.
The string quartet is a good material. Now we are not just listening to the sound, we are also looking for the "source" of the sound in the sound field. how is it? Did all four pianos appear? What is the distance between them? What is the size of each piano?
Listening to the location is like using the ear to "see" the entire sound field screen. If the recording is good, it should be that each note can be found in the sound field.
There is also a strict requirement for positioning, that is, the ratio; maybe when I first started to find a sense of positioning, several pianos will be in one piece, only a little violin on the left, and the bass on the right; after a fine tune, they will come The slimmer, the slim is only the strings! It’s pitiful, it doesn’t seem to be very healthy; it’s only after a while that it’s found that the resonance of the original body can also be positioned, so that the body of the piano comes out and restores its normal posture. Just if you want to make the body of a few pianos fat and thin, you can work harder!
Vocals are also a good material for positioning; it is easy to hear the balance of the sound system. If the left and right are not balanced (not just the volume imbalance, the range is not balanced) the singer may stand up, or one side is swollen, maybe it will make people feel that they are not facing the listener, it seems I can't spit out or spit; at this time, I have to reflect on the left and right channels.
Honestly, these clues are still useful for those who play LP. You can adjust the parameters of the carousel's tracking angle, anti-slip, etc. according to this; what if the CD sounds awkward? Ming Xianxiong said that his CD laser head smashed this situation. After changing the laser head to the disease, it seems that the laser head should be adjusted like a phono.
Speaking of the speaker's display also determines the positioning of the performance, not only the toein of the speaker is very much need to try, even the elevation angle should also pay attention. Since it is generally difficult to handle the elevation angle, it seems that few people mention this aspect. The elevation angle can be roughly adjusted by selecting the appropriate material, but usually the angle is changed after changing the mat (such as triangle, wood, porcelain, etc.), which makes it difficult for the listener to grasp the material. The impact is also the effect of the angle.
Details In the previous table, the author added a live arc under the positioning sense, indicating that the sense of positioning is the analytical power in the sound field, and the details refer to the resolution of the notes. In the author's concept, this detail should be filled with minor changes in the whole music theory; however, many systems are full of details, but they do not feel this kind of "change" at all, as if every detail is not coherent. This is not the kind I want.
Sound field
Please recall the situation of the live concert. Every musician or singer has some small movements, such as the sound of the bow, the refurbishment, and the ventilating. These sounds are not part of the music, but they are definitely not awkward; perhaps It should be said that a well-trained musician can't make these actions sound abrupt; why are some sound systems especially easy to find these sounds but can't find music?
This may be too extreme. The details are of course more and better. There are so many reasons. I just think that the pursuit of details should aim at pursuing the "details in music" rather than pursuing details. Is the noun in the room changed?
I am eager to get a noun to separate the difference between the two details... right! natural!
Nature seems to be quite far away from us, let's talk about resolving power!
Analytical power A truly distracting sound system seems to be a combination of positioning and detail. Not only can you hear it, you can also find its position! Such as fluctuations in the tone, small changes in the volume; development in this area is likely to come to the requirements of a sense of living.
Transparency transparency can be said to be the episode of the ultimate performance in all sound fields. To be honest, I should not care whether the details are musical, because music does not seem to be one of the components of transparency. As long as Hi-Fi, transparency should be there. But the degree of musicality can be much higher, it should be discussed at the highest level.
Imagine the audio equipment as a window, there is glass, the glass may not be too clean, there is oil, we see the outside scene is a smash; slowly, we wipe the glass, wipe off some oil, this situation has The improvement, but it is not very clean, even if it is cleaned, you can still see the glass, our ultimate goal is to take off the glass.
What is the point of transparency? The author believes that the superior transparency can express the thickness of the singer's body, the distance between the instruments in the wood tube group, and even the flesh and blood of each instrument. The "space" between the instrument and the instrument is not flawless. get!
The term bandwidth is quite worth discussing. I don't think it's a matter of counting the data on the specs; of course, the data also represents some importance, but the most important thing is to "listen"!
Honestly, the most important thing about this requirement is not "r more" but "good"; because the human ear can't hear how wide, but it is very picky for every link. The designer of the amplifier can easily use the negative feedback to extend the bandwidth to a few hundred K: the low frequency can also be 5 to 10 Hz, even DC (OHz) can be amplified, but people think that the low frequency really good machine 寥寥Countable, it’s weird!
Dynamic & contrast these two things seem to be put together often, but not quite the same, so I especially separate them, I hope this can be clear.
In my mind, dynamics refer to absolute values, while contrasts are relative values; dynamics seem to differ only in size, and contrasts are good or bad.
how to say?
In foreign articles, I sometimes mention that "it can provide a huge volume like the scene." I think this means dynamic; it means that a piece of equipment can emit such volume or energy without distortion, which is very remarkable. But the contrast is not the same thing at all; it seems to have something to do with the details, it is like a good ink painting, you can see a lot of different depths, and the Chinese painting can only use black and white. There is no change at all.
For consistency, please refer to the tree diagram. The reader may find that bandwidth, transparency, and dynamics and contrast all point to consistency. However, in the front, it does not explain what the three are going to. How do you know how to develop? I think these three are the easiest to find, and the most difficult to perfect; "discovery" means "knowing its existence"; we can easily find some kind of mat with contrast, transparency, or some kind of The line bandwidth is particularly good, or the vacuum tube is dynamic; but are they really an improvement? It depends on whether there is consistency.
Should the bandwidth be consistent? I think that a good system should be able to show the same sense of volume and consistent speed in each frequency band; of course, the wider the bandwidth, the better, but if you don't pursue the goal of consistency, then the width is also no good; if the bandwidth is normal, but there is Very good balance, it sounds very comfortable, but the general audio fans are asking for bandwidth first, then seeking consistency, or even not asking; may be consistent is really difficult! ?
What about transparency? It is also related to consistency. It seems that some equipment only has transparency in one frequency band, and other frequency bands are grayish. This is lack of consistency. We certainly hope to get comprehensive transparency, but this seems difficult to get, so We work hard to adjust and match, hoping to expand this transparent part.
The consistency of dynamics and contrast can be even more tiring. Have you ever heard of a poorly connected subwoofer system? It is very likely that the contrast between the mid-to-high frequency band and the bass is different, making it sound very strange. It seems that the subwoofer is always slow and half-shot, which is not consistent in consistency!
Neutral Perhaps there is no such thing as neutral in the world; everyone wants their system to be neutral, then what is neutral?
It doesn't matter. At this point, we are already Hi-End. We don't have to care too much about who is right or wrong. We are pursuing an art; but don't start to pursue art too early, it is likely to lose direction; when we are After a little bit of fur, let's see what is neutral.
Neutral is not without blood, nor cold feeling. When I think about it, it should be "faithful". It can convey the situation of the microphones at the recording site. It can show the level of the staff and can hear the difference in the hall. Yes... I have to quit poorly... I can show all kinds of "different"!
Live music
I really can't say what is natural, what is tone, let's discuss the feeling of the scene!
There is a natural feeling at the scene, which makes people feel that it is. Sorry, I look at it from the perspective of an audio fan. In fact, it is so natural that our equipment does not reach this level. I don’t know how to have a natural system, maybe some equipment. Only have special charm! Generally speaking, the vacuum tube expander seems to be more natural than the crystal machine. LP is more natural than CD. The most important thing is to always touch the scene. That is the real nature!
There is nothing to talk about in the sound, everyone has their favorite sound! As long as the sound and music are pursued step by step, the tone should not be outrageous; but I also find that the tone is the most difficult to communicate. If you don't like each other's tone, it's absolutely normal!
in conclusion
There are still many shortcomings in this set of nouns that need to be strengthened, but at least there is a direction to follow. The officer can also come up with a set of steps to pursue. Can this be another thinking exercise?
Don't forget to always review the projects that I have pursued before. We don't have the taboo of "do not eat the grass". In fact, every time I look back, I will find more good things. in this way!
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