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Am tot citit in ultimul timp cum ca sunetul ar fi influentat de componentele interne din calculatoare in afara placilor de sunet,unii avansand termenul de calculatoare audiofile.Ce anume din componenta interna a calculatoarelor in afara placilor de sunet pot influenta sunetul ?

Vă rog o clarificare pentru mine, dacă doriți bine”nțeles . Din partea grupului ”noi” . Am toată deschiderea posibilă să înțeleg. Domne, ce faceți când înregistrarea e proastă din fașă? Pentru aprox 60-70% dintre cd-uri e loc de mai bine ca să nu zic că sunt înregistrate/multiplicate prost. Nu le ascultați? Adică le dați deoparte? aceeași întrebare și cu resursele de pe net...

Am auzit si citit atatea sfaturi privind alegerea boxelor incat lista criteriilor pare mai lunga decat pomelnicul sfintilor! Se pare ca boxele ar trebui alese dupa potrivirea timbrala cu amplificatorul, dupa sensibilitate, dupa dimensiuni, dupa impedanta, dupa numarul difuzoarelor de basi, dupa puterea maxima suportata, dupa principiul de functionare, dupa tweeter, dupa culoare, dupa zodie etc. Si, desigur, dupa pret! Va propun o abordare diferita: alegerea boxelor dupa pozitionare! Dar sa explic: in general, fiecare producator stabileste caracteristicile boxelor astfel incat sa atinga sunetul optim intr-o anumita pozitie (sau doar constata ca exista o astfel de poztie, dupa ce realizeaza "seria zero" ). Cateva exemple: - DALI recomanda o pozitionare "echilibrata" ca distanta fata de pereti (cam cum gasiti in "cartile de bucate" audiofile) dar fara toe-in. Altfel spus, boxele trebuie sa fie paralele; - Raidho recomanda cat mai mult spatiu intre boxe (chiar daca acestea ajung la 20-30cm de peretii laterali), o distanta "generoasa" fata de peretele din spate si un toe-in agresiv, aproape direct spre urechile ascultatorului; - Wilson Audio a scos modelul Duette, la care recomanda pozitionarea foarte aproape de peretele din spate, fara toe-in (sau chiar pe o polita, adica "book shelf"); - in fine, boxele Audio Note sunt proiectate sa functioneze "prin colturi de odaie" (despre toe-in nu stiu nimic). Desigur, m-am referit doar la boxele cu constructie oarecum clasica: daca intram in detalii despre omnidirectionale (gen MBL) sau planare (electrostatice sau planar-magnetice) lungeam discutia... Morala: in primul rand, vedeti unde anume va puteti pozitiona boxele si abia apoi mergeti la auditii. Asta, ca sa nu aveti surpriza ca sunetul de acasa nu se potriveste cu cel din showroom!

Acum cateva zile ascultam un album The Doors pe cd. Sunetul parea lipsit de consistenta, linia de bas nu exista, instrumentelor le lipseau extensiile, etc. Vocea lui Jim Morrison avea o oarecare consistenta si textura comparativ cu restul instrumentelor. Sunetul ca intreg se simtea castrat. M-am enervat si am inceput sa caut varianta 'vinyl first print' copiata in digital. Am gasit ce cautam in arhiva unui pasionat cu un sistem foarte bun de copiere din analogic in digital. Varianta asta suna infundat, vocea lui Jim se ineaca printre instrumente, totul pare amestecat. Astazi am comparat 3 variante ale aceluiasi album: red book vs copie digitala vs hires. Din pacate hires-ul suna aproape identic cu red book-ul. Apare ceva mai multa informatie, insa sunetul ramane destul de steril. Va propun acest subiect spre dezbatere. Chiar mi-as dori sa deslusim ce naiba se intampla cu muzica noastra.

O diferenta notabila cred eu, este frecventa de taiele a bass-ului, cred ca la Piega e mai sus de 160Hz cum este la Amphion. Nu am gasit detalii pe net, poate stie Marian. Oare cum afecteaza acest lucru sunetul?

Salut, Nu stiu daca am postat unde trebuie. Vreau sa achizitionez SH un subwoofer pt sistemul meu stereo compus din boxe Monitor Audio Bronze 2, AMP NAD 326BEE si un dac Bluesound Node 2. La unele melodii parca simt nevoia de un subwoofer. Nu vreau ceva puternic. Bass ul nu vreau sa fie sunetul predominant. Ma gandeam la ceva de genu Monitor audio VW8. Multumesc

Propunerea de subiect este al lui Tudor, eu doar il ajut sa treaca pragul analogic catre cel digital. Am sa incep cu un mic dictionar de termeni specifici domeniului. Asa ne va fi mai usor sa evitam viitoarele neintelegeri. ADC: Analogue-to-Digital Converter. This device converts analogue input signals (from, e.g., a microphone) to a digital signal that can be used in computations (for example in a PC program) (Anti-) aliasing filter: Filter designed to remove any signal larger than the Nyquist frequency. Authoring: Process in which the final disc image is created. This includes lossless compression, creation of the table of contents etc.. Clipping: The phenomenon that when a format is designed to handle signal levels no larger than a level C, every level larger than C is coded as C. For example, the digital format on a CD cannot handle more than 65536 sub-levels; any signal corresponding to a level larger than +32767 is represented as +32767 (and likewise for negative signals less than -32768). Clock jitter: Technically the unwanted phase shift of digital pulses over a transmission medium. A discrepancy between when a digital edge transition is supposed to occur and when it actually does occur. DAC: Digital-to-Analogue Converter: the reverse of a ADC. Distortion: Any deviation from a linear input/output relationship, where a linear relationship is defined such that the output equals (apart from a constant gain factor) the input. Dithering: The addition of a (quasi-)random number to the signal which is subsequently quantised. Due to the dither, the quantization appears as an (almost) linear process. DSD: The digital format stored in Super Audio CD. DSD is a format in which 2822400 times per second a 1-bit signal is stored. Lowpass-filtering this signal will restore the original waveform. DST encoding: Direct Stream Digital, a lossless compression algorithm specifically tailored to the lossless compression of DSD signals. Filter ringing: The effect that a filter with a steep transition band in the frequency domain produces artefacts in the time domain that extent over a significant period of time. Idle tone: Tone appearing at the output of a noise shaper that bears a simple relation to the input of the Sigma Delta Modulator. Limit cycle: Signal at the output of a Sigma Delta Modulator that requires a precisely defined input in order to occur, and disappears if the input deviates slightly from the mentioned precise value. Linearity: See distortion. Noise shaping: The shift of spectral content of the (quantization) noise. For example, in a Sigma Delta Modulator the energy of the quantization noise is shifted to high frequencies, leaving no or little noise at low frequency. Nyquist Frequency: The largest frequency that can be represented by a digital format; the Nyquist frequency is half the sample frequency. PCM: Pulse Code Modulation. A digital format, used for example in CD, whereby a digital signal is represented by an accurate representation (e.g., 16 bits, meaning that the range -1,+1 is subdivided in 65536 sub-intervals) of the wave form at equidistant points in time (for example, in CD 44100 times per second a 16-bit approximation of the wave form is stored). Pulse Density Modulation: A form of pulse modulation where a large positive signal is represented by a long series of positive pulses; a zero signal is represented by alernating positive and negative pulses. (Re-)Quantization: The mapping of a signal of infinite precision to a signal with limited precision. On a CD, e.g., a signal is quantized to 16 bits. Sigma Delta Modulator: Device which transforms an analogue or PCM signal in a DSD signal. Often abbreviated to SDM, and also often referred to as Delta Sigma Modulator. Super Audio CD: Super Audio Compact Disc. Format for music distribution proposed by Philips and Sony. Super Audio CD is based on a new digital format called DSD. Topology: Particular way of connecting building blocks to create a circuit. Up/Down sampling: A signal processing technique whereby the sample rate of a digital signal is enlarged or reduced. In the latter case, this also corresponds to a loss of information.