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2d qrd diffuser make


elusive4

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my favourite listening environment is the bottom of a stairwell, music coming out of someone's cellphone and a few beers to go.

 

all this stuff is ridiculously subjective and our ears are very capable of adjusting to our environment. not saying your wood thingie doesn't look cool but reading your posts gives me a headache. no amount of bringing up comb filtering and math as an argument justifies a shitty-ass attitude.

 

like i need your fucking approval to put dr schroeder's work into practice

and no, it's not subjective - it's mathematically measurable

 

it's only ridiculously subjective if youre trying to discuss the topic and dont have a fuking clue

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here's next:

the 1d's should be lighter and a bit easier to make, but getting the fins to stay perpendicular will take some fancy woodglue'n'holdin work

keep yall posted, this plaec is easier to troll than xltronic so ill keep coming back for more

 

yMmF8.jpg

f5mu9.jpg

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are my eyes playing tricks on me or are you listening to something in 128kbps mp3?

oh right, you're "trolling" :sup:

 

+10 - grace, great great album

can only find in vbr, tho -

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all further bitrate/audiophile nazi opinions expressed by you are now invalid.

 

you better start backing up your post with direct quotes

 

who on earth would purchase music (digitally) with their hard earned dollars that is a watered down version of the original

i dont care if i cant hear a difference - i just want to know that there isn't a difference, period.

 

and like mp3 handles ryoji ikeda well .... pssh. next.

 

and shit like diffusers or absorption isn't just for listening. try recording drums in a bedroom. see how good that sounds, m8

not sure how you can remotely relate anything to fix room issues as being audiophile

 

enjoy your -30dB nulls at 100hz, mag. - i prefer to hear the full spectrum

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  • 2 years later...

*UPDATE*

 

even if one had anechoic chamber for a living room, and the most perfect speakers in the world...

 

each recording will sound different, and will definitely not sound the way the artist and her engineers intended.

 

because the artists/engineers didnt make their stuff in the same studios, and they didnt mix in anechoic chambers, and theres no such thing as perfect speakers.

 

they all used different gear.

 

and if you had perfect speakers in a perfect comb-free room, well, you'd get diminishing returns because you'd hear every flaw.

 

unless of course you're not a musician or an engineer, in which case you wouldn't notice those details anyway.

 

happy belated new years 2012 and 2013.

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*UPDATE*

 

even if one had anechoic chamber for a living room, and the most perfect speakers in the world...

 

each recording will sound different, and will definitely not sound the way the artist and her engineers intended.

 

because the artists/engineers didnt make their stuff in the same studios, and they didnt mix in anechoic chambers, and theres no such thing as perfect speakers.

 

they all used different gear.

 

and if you had perfect speakers in a perfect comb-free room, well, you'd get diminishing returns because you'd hear every flaw.

 

unless of course you're not a musician or an engineer, in which case you wouldn't notice those details anyway.

 

happy belated new years 2012 and 2013.

 

are you hating on my anechoic chamber and perfect speaker setup?

 

the nerve!

lol

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*UPDATE*

 

even if one had anechoic chamber for a living room, and the most perfect speakers in the world...

anechoic chambers give false imaging cues (unless what was recorded was also done so in an anechocic chamber); so no, anechoic chamber is not a wanted means of accomplishment for reproduction

 

each recording will sound different, and will definitely not sound the way the artist and her engineers intended.

depends on the requirements for the room. eg, reproduction with regards to accuracy (localization, iamging, intelligibility) ... the early arriivng high-gain indirect signals need to be identified and attenuated to minimize the room's inherent destructive properties (in the time-domain). this is with respect to reproduction so it is irrelevant to what is recorded. although LEDE designs were great as the tracking room`s inter signal delay gap was 2-5ms shorter than that of the control room, allowing one to hear the contributions of the recoridng room prior to that of the control room. also, you can have an anechoic (effectively) speaker/room response while not inducing an anechoic user/room response. source/receiver positions (perspectives) are key. non-environment rooms provide this. the speakers "see" an anechoic room, but the user position does not.

 

because the artists/engineers didnt make their stuff in the same studios, and they didnt mix in anechoic chambers, and theres no such thing as perfect speakers.

not sure how any of these statements are relevant.

 

and if you had perfect speakers in a perfect comb-free room, well, you'd get diminishing returns because you'd hear every flaw.

comb-filters dont exist in the real world. 3d spatial polar lobing does - and the comb-filtering is merely an interference pattern manifested within the freq response. and you're not looking to have a "comb-free room" (not everyone)... reflectino phase gratings such as those based on quad residue (QRD) or primitive root (PRD) numbre theory actually offer *more reflections which provides *more "comb-filtering" - not less. the goal is to get the comb-filtering more closely spaced together and dense (vs the destructive 'sparse' comb-filtering).

 

they allow one to break up a sparse specular reflection into many reflections dispersed spatially and temporally. this also provides added benefit of "mixing" the reflection to emulate that of which naturally happens in larger spaces (eg, a reverberant sound-field).

 

the varying depths of the wells provide phase shifts which in turn form an interference pattern that has equal energy lobes inthe diffraction directions.

 

http://www.rpginc.com/docs\Technology\Presentations\MRS%20Online.pdf

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*UPDATE*

 

even if one had anechoic chamber for a living room, and the most perfect speakers in the world...

blackbird C is one of the most reflection rich rooms on the planet, and yet the response is effectively anechoic.

 

who knew wood could be so absorptive (edge diffraction losses, viscous and 1/4wave resonance losses, etc). you're using highly reflective objects to function as "absorbers", to reduce the gain of the indirect signasl below that of human detection threshold (keying for locaization, iamging, etc) - while also providing an incredible dense (first-order bounce) sound-field.

 

why do people use lamp shades?

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