ΛΕΞΙΚΟ ΚΑΙ ΟΔΗΓΟΣ ΑΚΡΟΑΣΕΩΝ

[gstriftos]

Απάντηση: ΛΕΞΙΚΟ ΚΑΙ ΟΔΗΓΟΣ ΑΚΡΟΑΣΕΩΝ

Τότε ποιός ο λόγος μιας σχεδόν αυτούσιας αντιγραφής του κειμένου εδώ,εφόσον υπάρχει στο αρχικό link;

 

[niklaus]

SOUNDSTAGE

ΓΕΝΙΚΑ
"Soundstaging" is the apparent physical size of the musical presentation.
When you close your eyes in front of a good playback system you can "see" the instruments and singers before you,
within an acoustic space such as a concert hall.
The soundstage has the physical properties of width and depth, producing a sense of great size and space in the listening room.
A large and well-defined soundstage is most often heard when playing audiophile recordings made in a real acoustic space,
such as a concert hall or church.
You hear the musical presentation as existing beyond the left and right speaker boundaries,
extending farther away from the wall behind the speakers.

ΤΙ ΒΛΕΠΟΥΜΕ
Soundstaging is -without question- the most miraculous aspect of music reproduction.
You do not hear the music as a flat canvas with individual instruments fused together:
you hear the first violinist to the front left of the presentation,
the oboe farther back and toward the center,
the brass on the right behind the basses,
the tambourine at the very rear, behind all other instruments.
The sound is made up of individual instruments within a space, just as you would hear at a live performance.
The listening room vanishes, replaced by the vast space of the concert hall...
Soundstaging is toward the top of my list of sonic priorities (after tonal balance and lack of grain).

LISTEN AND YOU'LL SEE
The soundstage is created in the brain by time and amplitude differences encoded in the 2 audio channels.
When you hear, the ear/brain is synthesizing the aural instrumental images of the soundstage
by processing the slightly different information in the 2 signals arriving at your ears.
(Visual perception works the same way. Τhere is no depth information present on the retinas:
the brain extrapolates the appearance of depth from the differences between the 2 flat images.)

Superb soundstaging is relatively fragile: you need to sit between the speakers and the playback system must be of good quality.
Soundstaging is easily destroyed by low-quality systems, a bad listening room, poor speaker placement.

ΓΕΝΙΚΟΙ ΟΡΟΙ
Soundstaging overlaps with "imaging" (the way instruments appear as objects hanging in 3D space within the recorded acoustic.)
"Bloom" (the impression that individual instrumental images are surrounded by a halo of air) is often associated with soundstaging.
Although image outlines may be clearly delineated, a soundstage with bloom has an additional sense of diffused air around the image.
It is as though the instrument has a little space around it in which it can "breathe".
Bloom gives the soundstage a more natural, open, and relaxed feeling.

"Action" is the sense of "bloom" expanding from the instrument outward into space,
and the way in which the instrument's dynamic envelope grows.
"Action" is "bloom" with a dynamic component: think of how a trumpet sounds in real life,
and the way the sound seems to expand in space as the instrument gets louder.
Products that express a good sense of "action" sound more realistic, vibrant and alive.

Terms for poor soundstage width: narrow, constricted (music is squeezed between the speakers and does not envelop the listener.)

DEPTH
The illusion of soundstage depth is aided by resolution of low-level spatial cues such as hall reflections and reverberation.
The reverberation decay after a loud climax followed by a rest helps define the acoustic space:
the sound is like a flash of light in a dark room (the space is momentarily illuminated, allowing you to see
its dimensions and characteristics.)

To produce a realistic impression of a real instrument in a real acoustic space,
the reverberation and hall sound must be distinct from the image itself.
Better audio components place the image within the recorded acoustic, rather than superimposed on it.
Poor-quality components don't resolve these spatial cues:
they shorten soundstage depth, truncate reverberation decay, fuse the reverberation into the instrumental images
and the system's ability to transport you to the original acoustic space is diminished.
A soundstage that narrows toward the presentation's rear robs the music of its size and space.

A soundstage lacking depth is called: flat, shallow, foreshortened.

Ideally, the soundstage should maintain its width over its entire depth.

Instrumental images within space
Images should occupy a specific spatial position in the soundstage.
The sound of an instrument in any kind of music should appear to emanate from a specific point in space,
not as a diffuse and borderless image.
The lead vocal should appear as a tight, compact, definable point in space exactly between the speakers.
Some products, particularly large speakers, distort image size by making every instrument seem larger than life
(a classical guitar suddenly sounds 3 meters wide.)
A playback system should reveal somewhat (*) correct image size, from an 18 meters wide symphony orchestra to a solo violin.
(*) it is impossible to re-create the correct spatial perspectives of such widely divergent sound sources
through 2 speakers spaced about 2,5 meters apart.

Terms that describe a clearly defined soundstage: focused, tight, delineated, sharp.
Image specificity is also described as: tight image focus, pinpoint spatial accuracy.
A poorly defined soundstage is described as: homogenized, blurred, confused, congested, thick, lacking focus.

LAYERING
Soundstage layering is the ability of a sound system to resolve front-to-back cues that present some images
toward the soundstage front and at varying distances toward the soundstage rear.
The greater the number of layers of depth gradation, the better.
Poor systems produce the impression of a few layers of depth: you hear 3-4 discrete levels of distance within the soundstage.
The best components produce a sense of distance along a continuum: very fine gradations of depth are clearly resolved.
Absence of these qualities constitutes subconscious cues that what you are hearing is artificial.
When this important spatial information is revealed you can more easily forget that you are not hearing the "real thing".

Some systems produce a crystal-clear, see-through soundstage allowing the listener to hear all the way to the back of the hall.
Such a transparent soundstage has a lifelike immediacy that makes every detail clearly audible.
Conversely, an opaque soundstage is thick or murky, with less of an illusion of "seeing" into space.
"Veiling" is often used to describe a lack of transparency.

EVALUATION
To evaluate soundstaging and hear the characteristics you must use recordings that contain the spatial cues.

Studio recordings made with multiple microphones and overdubs rarely reveal soundstaging characteristics.

Recordings made in real acoustic spaces with stereo microphone techniques and a pure signal path
are essential to hearing all aspects of soundstaging.

Most audiophile recordings are made with purist techniques (usually 2 microphones)
that naturally capture the spatial information present during the original musical event.

Some products may throw a superb soundstage at low levels,
only to have that collapse when the volume increases during musical climaxes.

 

[JOHN MARKOU]

Απάντηση: ΛΕΞΙΚΟ ΚΑΙ ΟΔΗΓΟΣ ΑΚΡΟΑΣΕΩΝ

Καλά όλα αυτά αλλά εγω γιατί δεν τα ακούω- αντιλαμβάνομαι πάντα , ακόμα και σε Live εμφανίσεις?

 

[niklaus]

Απάντηση: ΛΕΞΙΚΟ ΚΑΙ ΟΔΗΓΟΣ ΑΚΡΟΑΣΕΩΝ

Καλά όλα αυτά αλλά εγω γιατί δεν τα ακούω- αντιλαμβάνομαι πάντα , ακόμα και σε Live εμφανίσεις?

Καλημέρα John!
Οπωσδήποτε χρειάζεται γερή προπόνηση!
Είναι δύσκολο να θυμάται κάποιος όλα αυτά και να τα "δει" με την 1η ή την 2η ή την 3η προσπάθεια...
Επίσης είναι απαραίτητο να ξέρει τι πρέπει να ψάξει. Και που...
Προπόνηση, λοιπόν, και σε όσο περισσότερα συστήματα και μουσικά δείγματα και χώρους...
Ο άνθρωπος έγραψε ολόκληρο βιβλίο για το θέμα και αυτό εδώ είναι μια περίληψη λίγων σελίδων από την επαγγελματική εμπειρία ετών...