alexis
Reticular Activating System
- Μηνύματα
- 19.172
- Reaction score
- 33.122
Steve Guttenberg
When I asked speaker designers if they design for accuracy or for a sound they hope people would like Andrew Jones responded with this:
"Accuracy in terms of closest approach to the original performance is not practical nor even possible. There is no way to capture an original performance for replay over two channels that can represent the "truth" of that performance. All we can get is a facsimile that is the producer's attempt to capture what he wants to convey to you. As for a studio recording, it is a total construct and has no "original." Therefore, as a speaker designer, my goal is to try and keep the speaker neutral so it is agnostic to the type of music and, to a degree, the replay level. The difficulty is knowing from a design point of view what a neutral speaker is. From a technical-measurement point of view, we mostly think we want a flat on-axis response measured anechoically, with smooth off-axis response, although even this concept has been contested. But how do we know this is the desired technical performance? By listening, and tying listening tests to measured performance.
But listening to what? Facsimiles of a recorded musical performance? This is somewhat of a circular argument, compounded of course by the sound of the equipment we have hooked up to listen with. So in reality, I design to my idea of what neutrality sounds like, on equipment I find also represents my idea of the sound of neutrality, with music that I enjoy and want to hear in the way I imagine it should. The exception is that I also use music recorded by engineers whom I know who can give me some kind of comments on their impression of what I have designed."
When I asked speaker designers if they design for accuracy or for a sound they hope people would like Andrew Jones responded with this:
"Accuracy in terms of closest approach to the original performance is not practical nor even possible. There is no way to capture an original performance for replay over two channels that can represent the "truth" of that performance. All we can get is a facsimile that is the producer's attempt to capture what he wants to convey to you. As for a studio recording, it is a total construct and has no "original." Therefore, as a speaker designer, my goal is to try and keep the speaker neutral so it is agnostic to the type of music and, to a degree, the replay level. The difficulty is knowing from a design point of view what a neutral speaker is. From a technical-measurement point of view, we mostly think we want a flat on-axis response measured anechoically, with smooth off-axis response, although even this concept has been contested. But how do we know this is the desired technical performance? By listening, and tying listening tests to measured performance.
But listening to what? Facsimiles of a recorded musical performance? This is somewhat of a circular argument, compounded of course by the sound of the equipment we have hooked up to listen with. So in reality, I design to my idea of what neutrality sounds like, on equipment I find also represents my idea of the sound of neutrality, with music that I enjoy and want to hear in the way I imagine it should. The exception is that I also use music recorded by engineers whom I know who can give me some kind of comments on their impression of what I have designed."
