Escaping Entity - In Pursuit Of New Audio Systems

A person who is truly passionate about the topic of audio often builds his system throughout his life. Rather, it is not even a process that implies the existence of a phase of completion upon reaching a pre-designated goal, but a state of mind. And yet, there must be a definite standard that serves as a motive, a kind of fuel for the locomotive of endless upgrades. Let's try to identify it.


Literally translated from English, high fidelity means “high accuracy”, and as applied to audio, this term implies a high accuracy of playing music in the home. Such an impassive wording was given in 1973 in the German standard DIN45500. In addition, this document established a set of clear criteria that must be met by components of Hi-Fi-systems. First of all, this is the width of the reproduced frequency at given levels of nonlinear distortion and signal attenuation, nonlinear distortion at a fixed frequency,the signal-to-noise ratio, the channel separation level and the like, the feature of which was the possibility of measuring them. Thus, using this specification, it was possible to strictly determine the possibility of assigning a particular system to the Hi-Fi class. Over time, it turned out that systems with parameters that easily fit into the framework of the standard have completely different sounds, that is, the proposed method turned out to be too general and did little to help in determining the reference. And this was the last attempt to formalize a certain sample in the field of home audio. Could not come from the "physicists"?


Let's try with the opposite - "lyric". Here, as an ideal to strive for, it is often proposed to character the sound of vocals and acoustic musical instruments with live performance. At first glance, everything is logical - it is better not to find a standard. But only at first glance. The fact is that the sound, for example, of a double bass can not be estimated in a vacuum. The nature of the sound is affected not only by the design of the instrument and the materials used in its manufacture, but also by the acoustic conditions in which this instrument is played.And what then take the standard? The sound of a double bass from the orchestra pit of the Vienna Opera or in the underpass at Lubyanka? And if we recall that in most cases we listen to music recorded in studios, the search for the ideal is even more complicated. Desperate to find a reference, we come to a curious conclusion: maybe there is no “true” sound and a ghostly ideal for everyone, how are each acoustic conditions for listening to favorite albums and hearing aid features in the medical sense of the word? At the same time, the road to a perfect system is running in a circle, when a significant change in the character of the sound is perceived as an improvement, although, rather, it does not lie in a better plane, worse, but simply different compared to the usual handwriting.

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