Sound quality and timbre
One: sound quality
Sound quality refers to the quality of sound, and many people confuse it with "timbre". What is the quality of sound? When you are talking about a pair of shoes of good quality. You must be referring to being fit, comfortable, and durable, not to say that it is beautiful or not fashionable. In the same way, when you are talking about the sound quality of a piece of audio equipment, you are not talking about the level and positioning of the audio equipment, but referring to the equipment "tolerant to listening"! It's as if you can't wear or fit. A piece of equipment with good sound quality is comfortable and listening. You don't have to discuss the reason why it sounds comfortable and listenable. That's the expert's business, you just need to judge with your ears. Some equipment is fierce and powerful, the speed is very fast, and the resolution is also strong, but it is not durable to listen, that may be the problem of sound quality. The sound quality of a good audio equipment should be like a good voice, so that people can not listen to it.
Perhaps I say that you still think it is very abstract. Actually it is not, I can give another example to illustrate. When you mention fabric, you will say: The quality of this material is very good. When you are eating steak, you will say: the meat of this steak is very good. When you are praising a child, you will say: This child's qualifications are very good. Therefore, when you listen to an audio equipment or a musical instrument, you will also say: its sound quality is beautiful. From the above examples, you can clearly know that "quality" is inherent in nature. The sound quality is noble, very good, and beautiful means that the nature of this equipment is very good, it makes people sound very comfortable. I can say that sound quality is the most important part of audio equipment, so I put it first.
Two: timbre
Timbre refers to the color of the sound. In English, tone quality (TONE QUALITY) and timbre (TIMBRE or TONE COLOR) at a glance know that they are not the same thing. But in Chinese, sound quality and timbre are often mixed and misused. We often hear the saying that this violin sounds really cold, this violin sounds really warm, etc. This refers to the violin timbre. Sound is colored like light, but it is not seen with eyes, but heard with ears. Generally, the warmer the tone, the softer the sound; the colder the tone, the harder the sound. Too soft or too hard is certainly not very good. Sometimes, the timbre can also be described by the words "noble" and "beauty", which is basically one of nature.
However, just like cloth, cloth quality refers to its material, but cloth color refers to its color, and there are still obvious boundaries. In the audio equipment review, the sound color is just like the color, referring to its unique color. The sound of some equipment is yellowish, some white, some cold, and even you can say that it is a blue with a little worry. In short, audio equipment is like a musical instrument, and it can hardly be separated from the fact that the more expensive the sound, the more beautiful the sound. The violin of a two-million-dollar violin may be beautiful with a golden luster; while the violin of a five-dollar violin may be like a faded painting. Although everyone's opinions are different, "beauty" still has a "consensus" that everyone recognizes. You can't say that an uproar is an "incarnation of beauty"; similarly, you can't say that a cold blue tone equipment is beauty. This is our consensus on the beauty of timbre.
Three: The distribution and control of the sense of quantity in the high, medium and low frequency bands
This project is easy to understand, but it is also easy to produce misunderstandings in text communication. how to say? Everyone will say: This pair of speakers has too much treble and too little bass. This is the sense of quantity distribution in the high, medium and low frequency bands. The problem is that if you divide the bandwidth from 20Hz to 20KHz into only three segments, it will inevitably lead to "inaccurate" confusion. Where is your bass? How low is it? In order to make the described text more accurate, it is necessary to subdivide the bandwidth of 20Hz-20kHz. According to the division of TAS and Stereophile in the United States, they divide each segment of high, medium, and low into three sub-sections, which is called "lower intermediate frequency, intermediate frequency, and higher intermediate frequency".
This division method is like a twelve equal law, quite regular. However, when it is used by the Chinese, there are some minor translation problems, such as "lower mid-frequency" are we called "mid-low frequency" or "low-mid frequency"? What about higher low frequencies? "High and low frequency"? For the Chinese, this division of foreigners may not work. Therefore, I have referred to the bandwidth of musical instruments and the name of the orchestra for sound a long time ago, and divided the frequency of 20Hz-20KHz into seven bands: very low frequency, low frequency, mid-low frequency, mid-frequency, mid-high frequency, high frequency, and extremely high frequency . These seven paragraphs of nouns are in accordance with the customary names of ordinary Chinese people, and they are easy to remember and will not be confused.
1. Extremely low frequency
From 20Hz-40Hz this octave is called extremely low frequency. There are very few musical instruments in this band. Probably only instruments such as double bass, bass bassoon, tuba, pipe organ, piano and so on can reach such a low range. Since this extremely low frequency is not the most beautiful range of musical instruments, composers rarely write notes so low. Unless pop music is deliberately arranged with an electronic synthesizer, extremely low frequencies are of little use to audio fans. Some people mistake one thing and say that although the fundamental pitch of the instrument is not so low, the overtone can be as low as the fundamental pitch.
In fact, this is incorrect, because the fundamental tone of the instrument is the lowest tone of the instrument, and the tone will only climb up by two times, three times, four times, five times ... etc., And there will be no downward sound. It's like if you tighten a string, the full-length vibration frequency of the string is the fundamental tone, and the vibration of the string length is half, one third, one quarter, one fifth ... The addition of pitch and overtone is the timbre of the instrument. In other words, even if the pitch (pitch) of the violin and flute are the same, the timbre will behave differently.
2. Low frequency
The frequency from 40Hz-80Hz is called low frequency. What instruments are there in this band? Bass drum, double bass, cello, bass bassoon, bassoon, bass extension, bass clarinet, tubas, French horn, etc. This band is the hero who forms the basis of a solid low frequency. Usually, people will mistake this frequency band for extremely low frequency, because it sounds very low. If there is too little sense of volume in this frequency band, there will be no sense of plumpness; and it will cause the high and high frequencies to stand out, making the sound lose its sense of balance and make it hard to listen to.
3. Mid-low frequency
From 80Hz-160Hz, I call it mid-low frequency. This band is the most troublesome part of Taiwan's audio fans, because it is the culprit that causes the ears to crash. Why is this frequency band particularly prone to peaks? This is related to the length, width and height of the small room. In order to remove this annoying peak, most people try their best to absorb this frequency band, so that their ears will not be banged. It is a pity that when your ears do not sound sensational, the low frequency at the bottom and the mid-frequency at the top may be recessed with the absorption of the mid-low frequency, which makes the sound thinner and lacks a sense of fullness. Even more unfortunately, most people think that this is the case just because the peak disappears. This is one of the reasons why many people's voices are not rich enough at home. The instruments in this band include those mentioned in the lower band just now. By the way, timpani and bass will also be added.
4. IF
The frequency from 160Hz-1280Hz across three octaves (320Hz, 640Hz, 1280Hz) is called the intermediate frequency. This band contains almost all musical instruments and vocals, so it is the most important band. Readers' biggest misunderstandings of musical instrument range also occur here. For example, the upper half of the violin is in this band, but most people mistakenly think that it is very high; do not think that the soprano range is very high. Generally speaking, her highest range is only at the upper limit of the intermediate frequency.
From the above description, you must also understand how important this IF is acoustically. As long as this frequency is depressed, the sound performance becomes thinner immediately. Sometimes, this thinness can easily be interpreted as "false cohesion." I believe that many audio fans are in the mid-frequency depression without knowing it. The importance of this band can also be analyzed from the crossover point of the two-way speaker. Generally, the frequency division point of the two-way speaker is mostly around 2500Hz or 3000Hz, that is, the treble monomer is responsible for above 2500Hz, and the mid-bass monomer is responsible for below 2500Hz. This 2500Hz is about twice the 1280Hz, that is to say, in order to avoid the mid-bass unit generating too much crossover frequency distortion at the mid-frequency limit, the designers have raised the crossover point to twice the upper limit of the mid-frequency, so As a result, the most perfect mid-range can be emitted by the mid-bass unit.
If this statement is correct, what is the use of the tweeter? If you ever put your ear close to the tweeter, you will hear a "hiss" sound, which is where most of the overtones are. If there is no hissing sound from the treble unit, and a single mid-bass unit is used to sing music, it must be dim. Of course, if it is a three-tone design speaker, most of this intermediate frequency will be included in the midrange monomer.
5. Medium and high frequency
From 1280Hz-2560Hz is called mid-high frequency. What instruments are there in this band? The violin has about a quarter of the higher range here, the upper limit of the viola, the high range of the flute, clarinet, oboe, half of the lower range of the piccolo, cymbals, triangle iron, etc. Please note that small speakers are not in this band. In fact, the middle and high frequencies are easy to recognize, as long as the high range of the string group and the high range of the wood pipe are both medium and high frequencies. Many people in this band mistakenly think that it is high frequency, so please pay special attention.
6. High frequency
From the frequency domain of 2560Hz-5120Hz, I call it high frequency. This frequency domain has very few opportunities for musical instrument performance. Because in addition to the upper range of the violin, piano, Piccolo high range, most of the other instruments will not appear in this band. From the crossover point of the speaker, we can find that all of this frequency domain appears in the tweeter. As I said before, when you put your ears close to the tweeter, what you hear is not the sound of the instrument, but a hiss. From the performance of the tweeter, it can be proved once again that the tweeter rarely emits the fundamental sound of the instrument or vocal, it only emits a high harmonic overtone.
7. Extremely high frequency
From such a wide frequency band of 5120Hz-20000Hz, I call it extremely high frequency. You can learn from the fact that there are few musical instruments in the high frequency, and understand that the extremely high frequency contains all the harmonics of musical instruments and vocals. In general, the overtones of most musical instruments tend to have lower energy at higher heights. In other words, tweeters must be made very sharp and can reproduce very fine sounds clearly. From here, something happened that troubled the manufacture of speaker monomers, that is, how to achieve the best of both worlds? What is "two perfections"? Have you ever thought about it, if a tweeter is designed to regenerate all the subtle overtones, regardless of the design, a small current can drive the diaphragm, then the high energy high frequency and middle frequency also responsible for this tweeter It is very likely to be in a state of distortion from time to time, because the energy of these two frequency bands is much larger than the extremely high frequency. This is also one of the reasons why many horns on the market are very clear at the very high frequencies, but easily bleed.
Do you remember the previous Spentdor SP-1 speakers? It's a three-way design, what about the three-way? Three channels of mid-bass unit, tweeter unit and super tweeter unit. That super tweeter is responsible for frequencies above 13000 Hz. I remember that many people at the time were puzzled. Why does the SP-1 have a super high pitch unit, but the sound is so soft? It should be sharp! Now I think you should understand! The SP-1 design focuses on making the tweeter free from distortion and regenerating extremely high frequencies. This is one of the reasons why SP-1 sounds comfortable and musical.
After understanding the segmentation method of the high, middle and low frequency bands, we then need to discuss the "controlling power" beyond the sense of quantity. Of course, the sense of quantity refers to the amount of quantity, which is what we said: more treble, less bass, etc. The control power usually refers to the control power of "low frequency band and high frequency band". Some equipment is loose at low frequencies, while others are flexible. We will say that the latter has low frequency control. Some equipment can catch the high frequency, so that it will not make the ears uncomfortable, we say that it has good high frequency control. Please note that the amount of sense in each frequency band does not mean that the equipment is really good or bad, it is important to match the amount of sense between the equipment. The quality of control can be said to be the superiority and inferiority of the equipment itself.
Four: sound field performance
What exactly is a "sound field"? In the United States, "Sound Field" and "Sound Stage" are two terms. "Sound Field" generally refers to the space where the sound is full; "Sound Stage" refers specifically to the arrangement of the bands on the stage (including width, depth, height, and low). In Taiwan, our so-called "sound stage" actually refers to "Sound Stage", because neither "sound stage" or "sound stage" can make people feel good. As for "Sound Field", we have replaced it with another noun, that is, "space sense". Therefore, when we refer to "the shape of the sound field", it refers to the shape of the orchestra regenerated by your equipment.
Due to the uneven distribution of the frequency response curve, the directivity of the horn, and the sound reflection conditions of the room, some sound fields are concave, some are wider than the depth, and some are deeper than the width. Some sound fields are box-shaped and not concave. This reproduction of different shapes of the sound stage, I call the shape of the sound field. Of course, the best sound field shape should be the same as when it was recorded. Here I would like to point out a noteworthy point: the recording of a live performance, the arrangement of the orchestra is wider than the depth; but in the studio, often for the sound effect, the arrangement of the orchestra will change, usually the length will be elongated , Especially percussion instruments will be placed further. In this way, it is not the arrangement we saw in the concert hall. , Discerning readers and commentators must be aware of.
1. Sound field position
In addition to "shape", the sound field also has the problem of "position". This includes the front, back, high and low of the sound field. Some equipment will make the entire sound field approach the listener; some will retreat. Some soundstages sound like they are floating in mid-air; others are like sitting on the second floor of the concert hall and watching the stage. There are many reasons for the position of the sound field, such as the placement of the speaker and the uniformity of the frequency response are major influencing factors. What should an ideal sound field position be? The sound of double bass and cello should come out from a lower place, and the position of violin is higher than that of double bass and cello. Like a Copper Tube, it is highly likely to be higher.
As for the height of the entire sound field? Often when you sit down, the height of your eyes should be slightly lower than the sound field. In other words, the violin should be above the line of sight, and the cello and double bass should be under the line of sight. The copper pipe must be at least as high or higher as the violin. Where should the front and rear positions of the sound field be? It should start to extend backwards on the "front line of the horn". Of course, this optimal sound field position is not easy to find, because it also has a great relationship with the listening software. Generally, it is easier to find a line extending from the back of the horn, but it cannot be "retracted" too much.
2. The width of the sound field
Audiophiles often hear boasting: "My sound field is not just beyond the horn, wide to the two side walls, or even breaking out of the wall." This phrase is illusory to outsiders. When I heard it, it was just a bit exaggerated. I think many audio fans have this kind of experience. Generally speaking, the width of the sound field can be as wide as the side wall. As for breaking out of the wall, I'm afraid it will take a little imagination. At least, as far as I am concerned, I have to count the sound field that "can be seen with my eyes" there. I can't see anything outside the wall. I can't be sure that it is there. Therefore, the width of my sound field is actually only within my walls.
3. The depth of the sound field
This is what we usually call a "deep sense", and now I attribute it to the depth of the sound field. Why not align it with a sense of hierarchy and positioning like before? Because the level and positioning are not talking about the sound field, but the sense of depth is still within the scope of the sound field, so I changed it to "the depth of the sound field" instead of "the sense of depth". Like "the width of the sound field", many people will say that the depth of the sound field of his house has already broken through the wall and reached the street. Of course, this is just an adjective to satisfy oneself. The true "depth of sound field" refers to the distance between the first line instrument and the last line instrument in the sound field.
In other words, it most likely refers to the distance between the violin and the bass drum and timpani. "Wide to the next door and deep to the street" This should be included in the "space sense" mentioned later. Some equipments or environments have too many mid-low frequencies or low frequencies, so the positions of the bass drum and timpani will rush forward. At this time, the depth of the sound field is of course very poor. In another example, the position of some sound fields is retracted, and the result is mistaken for the depth of the sound field, which is wrong. I believe that as long as you grasp the phrase "the distance between the violin and the timpani and bass drum", you will not be wrong.
Five: sound density and weight
The so-called density of sound is like a kilogram of cotton and a kilogram of iron. The density of iron is of course much higher. Therefore, although the two have the same weight, the weight of the iron block is much greater. What does it sound like when the sound density is large? Strings are sticky, the wind is thick and full, and percussion instruments will feel air vibration.
All musical instruments and vocals should have a sense of weight. However, most audio fans do not get good sound density and weight. I guess this feeling is related to the sufficient power supply and the fullness of the mid-band and low-band. What are the benefits of sound density and weight? Make musical instruments and vocals sound more stable, more solid and more authentic.
Six: Transparency
Transparency is almost an unspeakable noun. Some equipment sounds incredibly clear, while others seem to be covered with a mist, as long as people who have experience in changing aircraft must have this feeling. Transparency is a very important part of the "20 Acoustics", because if the transparency is not good, it will also affect the judgment of the rest.
The best sense of transparency is soft, and it does not sound like your ears are tired; the poor sense of transparency is like sunlight that hurts your eyes. Although you can see clearly, it is very sad. Most audio equipment cannot achieve the level of transparency that is both clear and soft, and can only be expressed clearly. If you can achieve "clear and soft", then the value of the equipment is probably not low.
Seven: sense of hierarchy
The sense of layering is easy to understand. It refers to whether the musical instrument can be clearly reproduced from the row after row. As far as television is concerned, if dark gray and black can be distinguished, there is a sense of hierarchy. The same is true of the sound, the arrangement of the orchestra does not mix together but has a good sense of hierarchy. What's more, we have to hear the space between musical instruments, so that we can have the best sense of hierarchy.
Eight: sense of positioning
As the name implies, the sense of positioning is to "set it there". If the focus is not accurate, the positioning will be poor, and the image will be poor. The positioning will not work, and the phase distortion of the equipment will lead to the drift of the positioning; even the ratio of direct sound to reflected sound in the space is not good (generally refers to the high frequency reflection is too strong ) Will also lead to inaccurate positioning. To give an example: when the summer is very hot, there will be breath on the asphalt road.
At this time, if you walk on the road, you will feel that the image of the object will float. This is like the situation where the positioning of instruments in our sound field will drift. If you have astigmatism and forget to wear glasses, it is also a specific manifestation of poor positioning. In short, the poor positioning may be caused by many reasons. No matter how it is formed, we ask that the instrument or vocals should be raised and clearly "fixed" there. Do n’t move when you should n’t. You can't mess up when it's messy.
Nine: a sense of life
The so-called sense of living can be said to be the other side of transient response, sense of speed, and contrast between strength and weakness. It makes you very lively when listening to music and will not be lifeless. This is an important factor in whether the music is good or not, just like an excellent conductor can make the music lively; and the crappy conductor often makes the music lifeless. This is the sense of life in music.
Ten: image strength and body sense
As the name implies, image formation is the ability to condense the ethereal audio and video into a solid; in other words, the ability to show a three-dimensional sense of the shape of human voice or musical instrument. In the past, I classified it as "body feeling". Later, I thought about it carefully and thought that the use of imaging power can contain a more complete meaning, so now it is changed to imaging power and physical sensation. Audio equipment with good imaging power will make the audio and video more embossed and more three-dimensional. That is to say, the shadow of the audio-visual outline is more clear.
XI: Sense of speed and transient response
In fact, the sense of speed is the result of the transient response, and is also the concrete manifestation of the rise time and slew rate of the equipment. Foreigners usually refer to this as a transient response rather than a sense of speed. However, the language used in Taiwan is a sense of speed. For the old school, the sense of speed is easier to understand than the transient response. Basically, these two terms refer to the speed of the various reactions of the equipment. I think there is no need to explain more here.
12: Texture and air of musical instruments and vocals
The term "texture" is quite abstract. We often say that the wood texture of this furniture is very good, the texture of this leather sofa is very good; or the texture of this marble is very good. From this example, we can understand that the so-called "texture" Jing refers to the "material nature" of the object. However, what we are talking about here is not the texture of the sound quality, but the texture of the moment when the instrument is played and struck.
Therefore, when we are saying, "The violin has a good string rubbing texture", it means "it is recorded very much like a violin." When we say, "The cymbals have a good knocking texture," which means "it sounds like real knocks." Conversely, when we think "the violin is not stringy enough," it means "it doesn't look like it." From this, we can clearly understand that the so-called texture refers to the "fax degree". When the laser turntable was first launched, everyone felt that the violin sound was not like that, it meant that its string scratching texture was not like it.
"Physical sensation" is easier to understand. When we listen to the clarinet, we say that its physical sensation is really good, which is also a kind of "fax degree". In short, both texture and shape are synonymous with "fax or not". What is the "air sense"? When we describe playing and striking a keyboard instrument, we use "the texture of a certain instrument is very good." However, when we describe wind instruments, we usually don't use the word "texture", but use "air sense", which means the feeling of blowing air. To put it more clearly, "air sense" refers to the feeling of sound waves vibrating, and the texture is mostly the feeling of being momentary after "contact". Of course, in addition to the string texture during stringing, the string group also has the "air feeling" generated in the air of the string.
Thirteen: sense of space
I often say that if a sound system (including equipment and space) can "float the sound field", then it must also "see" the sense of space. Please note that I use "see" instead of "hear". The sound field and the sense of space that are really good can definitely be "seen", not just "heard".
What is a sense of space? That is the three-dimensional physical size of the recording place. To be able to fully express the sense of space, excellent detail reproduction is absolutely necessary, especially the reproduction of "Tang Yin". I can even say that if you can't hear the full hall sound, the "space sense" cannot be completely reproduced.
What is "Tang Yin" again? Tangyin and "reverb" are often confused again. Most people mistakenly believe that "tang sound" is "reverb". In fact, these are two different things. Tangyin's English is Ambience, and Remnant's English is ReverberaTIon. Ambience originally meant surrounding, environment or atmosphere, which was later extended to the hall sound in the concert hall. From the word "atmosphere", we can understand that it refers to the details of the music surrounding us.
In addition to the perceptual meaning, Ambience has another rational explanation, which refers to the first reflected sound narrowly referring to the ear. In other words, by the time delay between the first reflection and the true reception, we can "feel" the size of the concert hall space. Therefore, if we cannot hear the hall sound in the software, can we not "see" the sense of space?
In the general explanation, "reverb" can also be said to be reflected sound. However, reverberation has a stricter definition of time, that is, the length of time that the energy of the sound decay to the original one-millionth (60dB) after a burst sound occurs. In other words, usually we would say: "The reverb of this concert hall is really rich and beautiful", but it should be said that the reverb is longer and shorter. Conversely, we should not say, "The hall sounds in this concert hall are too short," but rather, "The hall sounds in this concert hall are really rich and natural."
Fourteen: Resolution
This term is the most understandable and understandable. Anyone who has ever played with a camera knows the gap between the resolution of the lens and those who watch TV. They also know that their TV can parse a piece of black hair without any mixing. Good audio equipment, even small and complex things can be clearly expressed, this is the analytical power.
In fact, more details and clear levels of the dark parts are also the result of the analytical power, which is as if the sense of space can also be incorporated into the sound field. But analytical power does not represent all the reproduction of detail and sense of hierarchy. For example, the sense of hierarchy caused by going back and forth is not entirely caused by analytical power. Furthermore, if the sense of hierarchy is really incorporated into analytical power, then it is impossible to make a clear explanation of the nouns of individual items. Therefore, I will try to separate them as much as possible here, as long as the readers know that there are inseparable relationships between the "Audio 20 Essentials".
In general, if small changes (at low levels) can be clearly expressed, then the resolution of this equipment is of course very good. Since there is resolving power at low level, is there any resolving power at high level? Of course there is! It can parse everything clearly in extreme bursts, that is, high-level resolution.
Fifteen: strength contrast and dynamic contrast
The strength contrast can also be said to be the dynamic contrast mentioned by foreigners, that is, the contrast between loud and soft. Generally speaking, the strength and weakness contrast can also be divided into "strong contrast" and "very small contrast". We often say that the dynamics of classical music are very large, which means that the contrast between the loudest and the loudest sounds is large; while rock music is loud, but its fluctuations are not large, so we say that although it is loud, the dynamic contrast is not big. .
What is dynamic contrast with minimal contrast? This is a subtle comparison of strength and weakness. This subtle contrast between strength and weakness is like a wave of water. It does not seem to move from a distance, but when I look at it, I know that it has been fluctuating slightly. The strongest and weakest contrast should be the simplest way to say this: the strongest and weakest contrast is the waves that hit the rocky shore; the smallest strong and weak contrast is the fluctuation of the lake water under the breeze.
16: The size ratio of musical instruments and vocals
How big is the line and shape of the instrument? In the end, vocals are like a chain? Still have plenty of meat? This problem has been bothering audio fans. Idealists believe that they should be reduced in proportion to the actual orchestra size and placed in the listening room at home. In fact, this is impossible. Let me give you the simplest example. When the piano and the violin are playing sonatas, the shape of the piano does not know how many times more than the violin (the volume is the same).
If the volume of the violin is not increased during recording, the violin is often masked by the piano (this is often the case with live concerts). Therefore, when recording, the sound engineer will deliberately balance the volume of the violin. Let's talk about the concerto performance of the entire orchestra and the violin. If the scale is completely reduced, then the violin's sound should be too small to be small, not as clear and powerful as we heard on the CD. Therefore, the correct "instrument to vocal size ratio" is not just a reduction in size, but a reasonable size ratio according to reasonable music. This is true of musical instruments, as are vocals.
In fact, the most noteworthy aspect of the ratio of the size of musical instruments to vocals is not the problem of scale reduction or not, but the misunderstanding caused by the distortion of the frequency response curve.
For example, if your room has a severe peak around 100Hz, the timpani will be particularly large and powerful when you hit it; so is the cello and double bass. This is the true wrong ratio. Therefore, when writing "the ratio of the size of musical instruments to vocals", special attention should be paid to the effect caused by the distortion of the frequency response curve.
How big is the line and shape of the instrument? In the end, vocals are like a chain? Still have plenty of meat? This problem has been bothering audio fans. Idealists believe that they should be reduced in proportion to the actual orchestra size and placed in the listening room at home. In fact, this is impossible. Let me give you the simplest example. When the piano and the violin are playing sonatas, the shape of the piano does not know how many times more than the violin (the volume is the same).
If the volume of the violin is not increased during recording, the violin is often masked by the piano (this is often the case with live concerts). Therefore, when recording, the sound engineer will deliberately balance the volume of the violin. Let's talk about the concerto performance of the entire orchestra and the violin. If the scale is completely reduced, then the violin's sound should be too small to be small, not as clear and powerful as we heard on the CD. Therefore, the correct "instrument to vocal size ratio" is not just a reduction in size, but a reasonable size ratio according to reasonable music. This is true of musical instruments, as are vocals.
In fact, the most noteworthy aspect of the ratio of the size of musical instruments to vocals is not the problem of scale reduction or not, but the misunderstanding caused by the distortion of the frequency response curve.
For example, if your room has a severe peak around 100Hz, the timpani will be particularly large and powerful when you hit it; so is the cello and double bass. This is the true wrong ratio. Therefore, when writing "the ratio of the size of musical instruments to vocals", special attention should be paid to the effect caused by the distortion of the frequency response curve.
Seventeen: detail regeneration
The details generally refer to the details of the instrument, the subtle reproduction of the hall sounds, and all the murmurs in the recording space. The details of the reproduction of a piece of audio equipment can be easily compared by AB Test. Why do some equipment reproduce more details? I think this is related to low distortion, high signal-to-noise ratio, high sensitivity, resolution, transparency and so on. Equipment with less details sounds dull: equipment with more details is interesting. An excellent audio equipment, of course, the reproduction of its details is extremely rich.
Eighteen: overall balance
Every piece of audio equipment is the same as the conductor who controls the orchestra, and a whole balance should be sought. This is like everyone in an orchestra is a master of solo, but everyone wants to come forward and not listen to the interpretation of the conductor. In this way, although the individual performance is high, the overall balance of the orchestra must be poor. This is not a good orchestra. In the same way, the aforementioned 17 elements of an audio equipment are very good, but if you can not make an exquisite balance of these 17 elements, then you must not be durable to listen. At this time, no matter how high the analytical power is, no matter how good the contrast is, it is useless. Regarding this, we can't measure it by scale. To distinguish the overall balance is like listening to concerts to distinguish the quality of the orchestra. You only have * your own rich listening experience to judge.
In addition to this, the overall balance is also about proper volume allocation in high, medium and low frequency bands. For example, it is one of the low-frequency foundations we are talking about. The so-called low frequency basis is the stable and stable state that the low frequency band creates in the entire music. Most music fans hope that the music is very thick and rich, but do not want more high-frequency than mid-range, low-frequency, resulting in a top-heavy situation.è¿™ç§åˆç†çš„高ã€ä¸ã€ä½Žé¢‘段é‡æ„Ÿä¹Ÿå°±æ˜¯æˆ‘所说旳整体平衡性。
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