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  1. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    yes, I knew you licensed the design Would love to see any measurements you have done which show this - by PM if you prefer?
  2. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    I know you use PH regulator design. My customers from way back wouldn't agree that the PH regulators beat LiFePo4 batteries - in this role they are neck & neck - supercaps are another level but let's not get into one is better than the other - there are a few paths to the same end destination.'...
  3. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    Yes, I agree that it appears we come with certain innate machinery configured for learning this specific functionality. The auditory learning even starts in the womb - newborn babies cry with the cadence of the language they were born into suggesting that they have absorbed this cadence while in...
  4. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    Yes, the dynamic response of voltage regulators is a weakness even the SOTA LT3042 regulators - they seem to generate noise under dynamic current conditions which may well result in noise modulation patterned in correlation with the frequencies in music? I've noticed the same issue when I used...
  5. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    BTW, I only just came across this website where the very first problem of recording is addressed - the microphone configuration & placement. I don't know if anyone has seen this before or checked out their recordings with their approach to this? I will be checking them out (they have a free...
  6. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    What I'm suggesting is that before we consciously think about the timbre of an instrument & whether it accurately matches our memory of the live instrument, our analytic engine has done a lot of work subconsciously. This work at the subconscious level is very basic but also very complex. It's...
  7. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    Thanks I don't think we can achieve 1) or at least know if/when we have achieved this. 2) I don't know how to achieve this - correlation systems comparing input with output waveform measurement is fraught with many issues 3) can probably be achieved (at least for a short time) with non-accurate...
  8. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    This was a long post & I posted earlier but lost internet connection when I tried to post it & when I looked back at the post it was garbled so I'm trying to remember my thoughts & rewrite it. I hate when that happens !! I often see the idea put forth that our auditory memory is unreliable &...
  9. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    These examples of water running, rain on a tin roof, audience applause, fire crackling, etc are called texture sounds in the acoustics research literature & are used as examples of how auditory perception uses summary statistics to analyse & categorise them. I extrapolate this function to...
  10. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    Yea, we all try to correlate the ease & effortless, I call it realism, in sound reproduction with some factor in individual electronics or system components chain that is responsible for this realism. I tend to agree with you but would express it in a wider context - that electrical noise in...
  11. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    This post was messed up when I lost internet connection - I'll write it again so as it makes sense
  12. J

    What does it mean when people describe Digital as Sounding like "Analog"? Best term?

    My 2 cents for what it's worth - all this is IMO We don't know what the original event or the final cut sounded like so how do we judge the sound of our replay systems? If we look on recordings as a piece of art, the art of the musicians as interpreted by the art of the recording engineer as a...
  13. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    Hi Duke It's not an area I have paid much attention to - I struggle enough trying to research/understand one mode of perception never mind multi-modal perception. But I did a quick search & this might be a good starting point for your research "Auditory-Tactile Experience of Music" This is a...
  14. J

    PSA: Be Careful Dealing With Uptone Audio

    Hi Alex, Interesting, I had a similar type of customer in 2019 who was buying one of my DACs second hand & wrote to me I'll use his initials M.M) I warned him before he bought it off ebay to check with the seller that the batteries were fully working. When he received the DAC it was not...
  15. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    I agree with you about Olive? & Harmon research - there's an obvious experimenter's bias shown in a lot of their research. As you pointed out above, ignoring the different requirements of planar speaker placement, ignoring the role of SOTA electronics, etc. It's a problem I find when reading...
  16. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    I haven' heard you speakers so I'm just giving my best guess based on my experiences with my own electronics & I have formulated my views based on this experience & my readings of research in the area of psycho-acoustics, particularly ASA - I could well be wrong (& just a man with a hammer to...
  17. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    I may have said this before so forgive me if I have but the acclimatisation reminds me of this. I believe very good stereo playback create an illusion which we can just about believe in i.e. it is a very fragile illusion because it is missing lots of the cues our auditory perception relies on...
  18. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    This experiment was first done by Hoffman in 1998 but repeated more recently here https://www.jneurosci.org/content/25/22/5413 Basically, we build our internal auditory model based on the nerve signals from our physiology. The different shaped pinna means that we all receive different frequency...
  19. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    One other aspect that might have relevance to what Duke is doing with these late reflections - from Griesinger here Even though his research tends towards large acoustic spaces, there are generic points in his research which applies to sound itself & our perception of it So, essentially, from...
  20. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    I don't disagree with you - yes, we can acclimatise to different sounds & it makes me think more about the point I was trying to make. The point I was making is that we have 'learned' how sound behaves in the world through constant exposure to it i.e. acclimatised ourselves to it & established...
  21. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    Hope you all had a great holiday & have a great 2020? I find Toole's "multiple looks" phrase is awkward & confusing (although a nice soundbite) as it doesn't really have any grounding in pyschoacoustics that I know of unless it's falling back on a very basic & general phrase along the lines '...
  22. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    OK, Klaus, let's not get into the well worn rut that these debates usually descend into & leave it that we agree to disagree.
  23. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    In doing some investigation I came across this very recent (2019) research paper "Perception and preference of reverberation in small listening rooms for multi-loudspeaker reproduction" I have yet to study the paper in detail but believe it is highly relevant to Duke & the discussion here Some...
  24. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    Correct - that's why I suggested that these anecdotal reports are useful only for shortlisting for my own investigation. I don't consider this useless information. But I don't quite follow the logic in your statement "Further, differences between individuals are substantial, see graph below...
  25. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    Thanks - those graphs are as expected Agreed that pinna are different between individuals. Don't agree that "subjective impressions of others of little or no relevance" - to me, when there is a critical mass (or if someone whom I have found in the past shares similar evaluation) of anecdotal...
  26. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    I'm not a researcher in the field so don't have a wide range or depth of readings in the field. My interest stems from my experiences in audio & attempts to understand & explain what I'm perceiving. I consider I'm on a journey in trying to understand a very complex, unfinished & active field of...
  27. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    I don't have any ready to hand literature (or even know if there is any) on the subject of differences in perception of vertical Vs lateral reflections. I assumed that the angle of incidence of the reflected sound wave at the pinnae would have a bearing on this & the idea that vertical...
  28. J

    Griesinger's teachings show up in Klippel, Linkwitz, Toole, and Geddes

    Yea, LOC is probably not appropriate for small listening rooms such as our domestic playback rooms as I already stated " "Now all this relates to concert halls but there are universal characteristics about perception which presumably will apply to small rooms such as our playback rooms?:. Taken...
  29. J

    The Reverberant Field: Why it matters, where the goal posts are

    Oh, I didn't see this thread until now & was only replying on Duke's other thread Looks like there's some good posts here that I'll have to have a read of time when I get time - I enjoy learning new things & challenging my own thoughts of what might be happening

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