A decade ago Flat Design with 2 bits of dynamic range wasn't fashionable yet, except when output to a laser printer. Buttons were big and natural.
"Why the Quad ESL is able to do so is simply because of the moving part of the Quad ESL, the electrostatic diaphragm, which is a thin layer of stretched Mylar, ten times thinner than a human hair and so light that it approaches the mass of air to which it is coupled." - http://quad-hifi.co.uk/product.php?cid=5
From a scientific veiewpoint this is meaningless, until the repeal of the Law of Newton we often refer to as F = MA. This means that you can manage high mass quite effectively if you can come up with a correspondingly high force.
Of all common formats of loudspeaker, electrostats have a track record for having problematically limited sources of force.
The simple fact is that obtainin lots of dynamic range is no problem for conventional designs. but are mission impossible for 'stat's. If diaphragm acceleration were the most important thing, compression drivers would rule.
My understanding is that differences in their sound quality can be attributed to the following:
To me cleaner has two dimensions - nonlinear distortion and noise. I tend to characterize frequency response variations as *tone*, and so it is a different topic.
Distortion in LP playback has a geometric origin. Making a cutter and a player stylus follow the identical same path is not trivial, and becomes less trivial the shorter the recorded frequencies' wavelength (higher frequenceis). That all said, 2 KHz is generally too low for wavelength effects to dominate.
Noise in LP playback has several sources, including tics and pops, mechanical vibration, electronic noise, and physical imperfections in the playback media. All but electronic noise appear to be sensitive to speed of rotation and groove radius. Faster rotation, more noise and more noise spectra at higher (typically more audible) frequencies. Working against that is the fact that higher effective linear speed of groove tracking makes the same groove produce more electrical signal with velocity-sensitive pickups.
IME most single play 45's are hastily made with quick delivery in high volumes being of the essence. LP's are very sensitive to care during production and sacrifice that, and SQ quickly follows it. The performance of EP and LP 45s could follow their technical advantages more closely.
i like to line up the vertical divider at the right side of the volume slider with one of my splitters in the main window. in 1.3.17 and previous versions i could unlock the toolbar, line up the volume divider, then lock it again and everything would magically stay in place. in 1.4b3 when i lined up the divider and locked the toolbar, everything shifted to the left. the "order" or the "output" selector seems to be growing, depending on what i have at the far right.
You can see in AJ's graph that the speaker represented has a lot of comb filtering at higher frequencies, and I'll bet there's a sort of "venetian-blind" effect from moving the listening position - plus probably timbral changes since the different frequencies don't change similarly at the different angles. OTOH, they indicate a dipolar pattern which could be beneficial to eliminating room modes if positioned carefully.Well, that's a good start, as I saw folks "guessing" and posting conjecture even after I posted that link. If you go to it, you'll find far more data (there is a <> nav bar above the graphs) on this and a couple other panel/stat type speakers.
There are no mysteries for non-audiophile folks like me. What you see is what you get. The polar pattern is indeed chaotic at best and quite different across the spectrum. Many, with rare exceptions like the huge Soundlabs, are actually dipolar panels atop monopole boxes. There is no question there are alluring aspects to the kind of soundfield they generate, especially to untrained ears, hence their popularity amongst a subset of audiophiles. The chaotic nature of the HF is actually quite ideal for the rear radiation. That part it good! (even if listeners have no clue why).
An ideal speaker for generating "realistic" soundfields would have indirect radiation that is highly diffuse, i.e lacking "leading edge" wavefront info for the ears to have directional cues to lock onto.
Unfortunately, stats also radiate this way forwards, with the direct field.
The default user interface shows tracks grouped under a heading which includes artist, year, album name and potentially other fields. This works well most of the time.
How would you deal with albums that have the same name? For example, original and remastered release? Or single releases with the same title and year but containing different mixes? For me they group together as one.
Most of the time only one album editition exists in my collection, and I don't want to extend the title much longer, and potentially cause it not to fit in the window width, or contain cryptic, usually superfluous text such as cat.number. Of course, there is no way for the script to remember previous iterations, and know if another album was already encountered.
It would be neat if the titleformatting script contained a "checksum" function, which would take (%label%,%catalognumber%,%__codec%,%media%), and similar data, and produce a short string of "invisible characters", which would be same for the same input, and different if any of those fields are different. And this difference would be enough to begin a new group.
Dear moderators I am new to this forum so did not know which forum to post this query, if it needs to be moved kindly do so.
Greetings to all. I am new to this forum. I am complete non-techie. Dear learned forum members I have an 5 mb audio file in wave format which I got examined in USA for authenticity and tampering if any. The forensic company has submitted its report, which however I am unable to understand, unluckily the company is very slow in responding to mails. For information this audio has been recorded in a philips gogear mix 2gb version, I do not have the model no. I was supplied with a copy of the audio file on a CD. The examiner has concluded that the file is not authentic. I am attaching herewith the relevant pages of the report for ready reference. My questions are :
1. The media info of the file shows that the file is truncated, what does this mean? The hash checksum is a match for the file on the CD and the file on the Philips digital recorder.
2. The examiner has concluded that there is deletion at the beginning and end but no indication of exact place and other details of deletions have been provided. On enquiring the company informed through mail as quoted “ Changing the format of the audio impacted our ability to determine duration, date/time of the recording. To obtain this information, we’ll need to gain access to the original recording. Audio creator did everything possible to conceal origin of this recording”. I am wondering how they have been able to conclude that there was deletion is out of my understanding. Can somebody help me understand this?
I am sorry for the long post but I need help to understand this report.
Thanks in advance.
is it possible to use foobar to create an audio signal that i can stream? like with the vlc player?