What is "the product of your imagination" in sound reproduction?

microstrip said:

If we want to keep the word imagination for the dangerous meaning of fictional, what should be the correct word for the associative mechanism?

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Sonic memory?

I think the line between imagination and perception is pretty thin, personally. How about the line between perception and reality? Did I hear what I expect to? What I want to? If all expectations are circumvented, will it go away? Maybe. If I kill the illusion and listen to what's there, not what's perceived, will I experience something less? I don't think so, because I don't think you can kill the illusion. I think you can only build a stronger reality from which to launch your perceptions.

YMMV and all that.

Tim

How about Imaging and Soundscape?

Robh

For me; Extrapolated Reality. :b

Some good material at http://en.wikipedia.org/wiki/Music-related_memory. In particular, episodic memory, is probably the term to use here.

I've noted that hearing a unknown piece of music on relatively poor playback heightens both the unpleasantness of the sound, and aversion to the music as content. Once familiar with the structure, my "imagination" fills in the gap, I "know" what it should sound like and I largely react to the auditory triggers, and my memories. The system sounds better than it really is, unless some really pernicious distortions are too obvious.

The illusion of the sound being like a real musical event I find only occurs if the system is working well enough, and then it works for even completely foreign, new to me, musical works.

Frank

fas42 said:

I've noted that hearing a unknown piece of music on relatively poor playback heightens both the unpleasantness of the sound, and aversion to the music as content. Once familiar with the structure, my "imagination" fills in the gap, I "know" what it should sound like and I largely react to the auditory triggers, and my memories. The system sounds better than it really is, unless some really pernicious distortions are too obvious.

Frank

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I made digital transfers of some of my father-in-law's 50s-era jazz albums that he hadn't been able to play for years. Some were in pretty bad shape and needed extensive software restoration. As I was seeking advice on some of the gnarlier problems during the process, it was pointed out to me that more than half of the titles were available on CD, and I was wasting my time.

But there were a couple significant takeaways from the project.

First, as Frank pointed out, I was unfamiliar with a lot of the material and the poor initial quality of the recordings made me indifferent to the performances. But as I pored over them, my appreciation for the artists grew as the sound improved (and I was getting return on time investment). Now I count a couple of the titles -- Anita O' Day "This is Anita" (Blue Note) in particular -- among my favorites.

Second, the sonic quality of the recordings may have improved in post-processing, but they still sound like 50s LPs. But my mother-in-law Sue frequently tells me how much Tony appreciates and enjoys listening to them. I think part of his enjoyment is they remind him of being a young guy in NYC, just of out Columbia business school, and courting Sue by taking her to jazz clubs. The recordings don't have to sound perfect; it's enough that they sound as he remebered them.

Cheers,
TGD

Thomas.Dennehy said:

The recordings don't have to sound perfect; it's enough that they sound as he remebered them.

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How nicely put!

Romantic Nostalgia is the fruit of our imagination?