How Many Danactives A Day

Playing musical sounds

by Lorenzo Russo

reproduction of musical sounds contain the vital, irretrievable original sin: the space-time event to happen a second time. Originally, we recorded an event space of time, always using a recovery ARBITRARY due to the total mismatch between the microphone and behavior of the human ear (this will be the subject of further discussion because by passing them the opportunity to pick up a signal device reproduction). So we have a sound recording, best, indeed only be described as to transcribed sequences and go in reproduction. Entering the environment they interact, creating sounds an additional space-time history that interacts with the first. Before you enter the alter on time of existence (chapter ad hoc), after release we create a story that determines the entire space-time perception. If the primary information defines me the position, size and spectrum of the sound again, the secondary information I provide information in contradiction with the first, born inconsistency of information and the masking sound related to that are the makers of any possible damages and imaginable phenomena of infinite size (total ban of information) and spatial sound caoticizzazione irrecoverable dilution of loudness are often mistakenly attibuita the sun intensity relative delle diverse armoniche ed alle variazioni di livello generale (la cosiddetta dinamica). Per una descrizione completa dei fenomeni occorre la modellizzazione a componenti perfetti dei sistemi di riproduzione del suono, lavoro originale ed esclusivo Moss , solo tale modellizzazione può indicare quali sono gli errori sistematici che se non vengono individuati e rimossi impediscono qualsivoglia avanzamento della tecnica ed il miglioramento dei sistemi e dei componenti. MODELLIZZAZIONE A COMPONENTI PERFETTI significa che consideri l'ampli perfetto, risposta 0-:- un miliardo di Hz, fase zero, distorsione zero, frontale e lucine che vuoi, colore viola.......heep, dicevamo perfetto.....; altoparlante perfetto, come sopra, sorgente perfetta etc. speakers and idem GO TO SHOW WHAT ARE THE ERRORS THAT STILL MAKES THE SYSTEM. Find out if you do, that the system error of infinite extent due to non-invariance or of masking, the time domain and the frequency representations are not equivalent (taking this pillar end of the world, are government agencies what it means ), the measures are foreign, not that wrong, you just can not do the physical interaction is called out. It can not be including the absolute need for such sophisticated devices and details if you do not have the perception of the extent of the phenomena at stake, even if for a very brief discussion of the phenomena we must start from the analysis dell’ascolto di suono musicale prodotto da strumenti che immettono direttamente in ambiente il suono da essi prodotto (attenzione a tutti i termini usati!); l’elemento assolutamente più caratterizzante di tutta la fenomenologia è che non esistono informazioni che si contraddicono ovvero incongruenti, qualunque cosa accada il cervello riesce a costruire una realtà spazio temporale, qualunque essa sia sul piano estetico del suono che del contenuto musicale, costruisce una realtà che è sempre congruente a se stessa anche al variare della posizione dell’ascoltatore in ambiente e quindi al variare della parte di suoni ricevuti. Solo se è congruente quello che immetto in ambiente posso sperare che sia congruente quello che ricevo; met all or most of this condition can I hope that the brain do things with sounds similar to those received by the event live. The absolute consistency of the event live is totally compromised by the sounds of shooting techniques and the fact that the recorded event MUST HAPPEN AGAIN; being played there is a remarkable and almost incurable caoticizzazione sounds, this must be added a remarkable series of cases that raise the time of existence of the sounds that cause masking effects of size up to infinite size, which is part of the information is completely forbidden to listen, and when the information is not prohibited perde la capacità di produrre una intensa sensazione sonora ovvero complessivamente si osserva una diluizione della sensazione, i suoni perdono la loro forza deflagrante, esplosiva ( a qualsivoglia livello agiscono) . Il mascheramento E’ IL FENOMENO CHE GOVERNA TUTTO L’ASCOLTO DEI SUONI MUSICALI, sia dal vivo che in riproduzione, tale fenomeno è la causa della non invarianza del sistema, più facilmente definibile come tempo-varianza ovvero quello che ascolto DIPENDE DA QUELLO CHE HO ASCOLTATO FINO ALL’ATTIMO PRECEDENTE ; la cosa sconvolgente, di cui la pseudo scienza ufficiale non vuole darsi pace e che moltiplica la dimensione già madornale dell’errore è che se osservo i fenomeni attraverso metodologie e strumenti della Fisica il fenomeno del mascheramento NON ACCADE! Cosa si vuole osservare e descrivere se il fenomeno non accade? Un microfono somma tutti i suoni (rispetta la sovrapposizione degli effetti secondo somme variamente lineari) l’orecchio umano in concorso col cervello fa le differenze ed ognuno (soggettività) seleziona a modo suo i suoni da osservare e con essi compie giochetti che solo lui lo sa. La FISICA si chiama fuori in presenza di un sistema non invariante (tempo variante) ovvero di grandezze che ogni volta che vado a misurarli presentano un valore diverso che non si riesce neppure ad ipotizzare da cosa viene fatto cambiare sia per numero di fattori in gioco che per entità degli sbalzi ( salto di grandezza infinita). La soggettività non exhausts the problem of audience reaction, but rather is a concept quite different from the non-invariance, if I lift a weight, physics tells me the value of the weight is and remains invariant, as time passes, the feeling of weight change (so is different if a child or a weightlifter, but both change with the passage of time) until the weight becomes unbearable. How do I measure the feeling of "weight"?, Such correlation can be found both intra-and intersubjective that? For the physical quantities are invariant entities which we can associate a number that corresponds to reality unless the error of measurement for human phenomena are processed to build meanings, which can and will never be correspondence between the phenomenon and meaning? The answers are of extreme banality ... ... ... ... ... ... .. and then ... ... ... .... What we are and continue to make music with these sounds? We continue to measure and to find correlations between a field of non-existence of the phenomena and a field of unique existence of the same? It makes sense, any sense to pick the order of arrival of competition in a different place from the finish of arrival? Musical sounds are exactly in competition with each other, there's only one dominant and most persistent is the listener that determines the order of arrival and relative importance: that puts him on hold and it recombines with the other because he knows that it must be so (leave) because he knows that others will attenuate the bother, so why other transforms them to become happier SA The problem is when he goes to his friend listen to his system since his friend NOT KNOW all the tricks that he puts into action when he listens and then asks, but you listen to this garbage?

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New categories

How to judge a system that plays musical sounds?
Without the definition of categories observation and the mode of formation of value judgments is still in chaos produced by the "media experts" that as first and only goal they have destroyed the means by which we communicate: words and metaphors.
conformism, lack of critical analysis, the superficial, volunteer, amateur, personal inclinations etc. etc. powered inculturation general and specific produced the horror! The horrid
exposed and commented upon and revered and e. ... not seen, depends on the mental strain produced in the user by printing VOTED to produce information and culture rather than consumption, betrayal, before the player took place against the same core functions writing: to inform and communicate!
A press that it first looks at the reality with eyes to tell deforming due to the lack of selection of the scribe before, during and after exercise scribatorio! Words and metaphors
hi-fi are worn, they are equivocal are misleading.
The foundation of anything that involves the exchange of experiences in order to share the same passion and the purpose of understanding, and pronouncements of the values \u200b\u200bin the field, passing through the creation of language.
should, before the assembly plant to assemble the concepts, the technical ones if it can do without, in this historical phase the audiophile would do better to refrain from trying to understand things from a technical standpoint, sono cose molto, molto difficili, sfuggite all'analisi ed alla comprensione dell'universo mondo per oltre cento anni (il suono che nasconde se stesso e che non si fa pertanto neppure indagare), per concentrarsi sull'analisi del risultato della riproduzione imparando a descriverne e giudicarne le caratteristiche.
Il PASSAGGIO dall'estetica del suono musicale dal vivo a quello riprodotto richiede una serie di elaborazioni tecniche e culturali proprio per arrivare ad affidarsi al sistema sapendo che sta facendo il minor numero di errori e pertanto pacificarsi ed ACCETTARE quello che fornisce per una sempiterna ed appagante fruizione dei suoni musicali-
L'audiofilo sa che c'è ma non sa dove è e perchè non raggiunge la piena e duratura soddisfazione listening.
A person came to hear the full moss expressed in these terms: I always knew I had to be so, that could be, just do not know where and how! So
: development of concepts and language to express them for CAN to arrive at the result that first must be defined and after SOUGHT!
start at the end; AGREES now examine the system and moss from them because the most scabrous was unraveled.
The answer to the shadows of Plato, however, is the creation of categories of observation and method of allocation of value judgments, it seems complicated but is simple: if you select a high jumper you need to know the characteristics Morphological most suitable start and then "see" where you come up with training.
The result is not entirely determined by the invariance or the HISTORY that will happen.
categories of observation arising directly and totally from those of listening live but not without trying to sound like live, legitimate request if it had been put on record, but to recognize the elements of the live sound: consistency, sound, size and terms of issue of individual orchestral instruments and ensembles, co-existence between the sounds, merger or amalgamation while remaining perfectly distinct and dynamic expression rather than changes in noise level etc.. etc.
should start from here perchè se non sai distinguere e giudicare come puoi scegliere?
E poi ci vogliono mezzi tecnici formidabili; andare a tirare fuori il segnale dal disco e SPERARE che poco poco assomigli alla realtà del segnale inciso sono dolori, tant'è che nessuno si è neppure avvicinato e poi, non alterarlo nel percorso fino all'altoparlante oggi non si sa neppure cosa vuole dire e poi, farlo arrivare all'orecchio, anzi al cervello, è materia sconosciuta all'universo mondo.

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Percezione

L'individuo costruisce due realtà spazio temporali, una con l'occhio, l'altra con l'orecchio (dovrei dire tre, l’altra con la fantasia ma la cosa si complicherebbe troppo).
Le due realtà debbono essere congruenti altrimenti si creano conflitti insanabili.
La costruzione della realtà si avvale della esperienza acquisita e delle modalità di elaborazione del cervello che opera sia in modo automatico che in modo comandato, a volte per agevolare il raggiungimento della congruenza a volte per porre delle questioni da risolvere.
Se qualcuno mi fa il giochetto del playback, parla davanti a me e fa giungere la voce da dietro la cosa non mi fa ne caldo ne freddo, riesco a far congruire i due input perché conosco il trucco.
Proviamo a fare il giochetto ad un aborigeno, that crazy, not having previous experience can not undue the two.
It 's a little of the history of all the tricks of the magician, until we know the mechanism of deception until the wonder is total confusion! What saves us? only the knowledge that there is a trick, but we do not know how and where we know there is!
The need for fairness to the other information while listening leads us to implement a series of tricks with which we avoid having to give birth and then solve the problem.
If I start with the attitude of wonder not want me then I can not even wonder (brain operating in controlled conditions ... .. prejudices etc), since each of these tricks and mechanisms put in its field you tell me if what one hears may be compared to what he hears another.
One for all is the differential mechanism of attention and / or preferences linked to the expectation of feeling that is going to produce: I know it is going to get the defective section of track reduces the attention and I do not hurt, then I go to pay attention only to what I like most.
One who does not know the piece (or DOES NOT WANT TO SHIELD) listens to all without screening and when the defect takes the tram!
There seems to be listening to the installation of your friend?
He blessed you in horror! All
la lunga premessa ed escursione per porre il problema fondamentale: congruenza e meccanismi di formazione della sensazione.
Se sono in camera anecoica l'aspettativa data dalla esperienza è che in un ambiente chiuso ci debbono essere le riflessioni se mi introduco in un ambiente dove le riflessioni non ci sono la nuova realtà non è accettata, ed inoltre le riflessioni contenute nel segnale riprodotto non congruiscono con la nuova realtà di assenza di riflessioni.
L'insufficienza delle informazioni spazio temporali e la loro caoticizzazione in sede di riproduzione provocano ulteriori problemi; ogni microfono mi porta informazioni spazio temporali diverse, quanti ambienti di originario svolgimento dell’evento debbo allora costruire?
If you build one and make it consistent with the tricks I can not however accept another.
That's anechoic chamber is the same issue that involves the headphone irreconcilable inconsistency between the behavior of the expectation of when you hear and the reality that we perceive space and time.
A 'last note: the look does not affect much on the visual construction environment through the sounds, the sound takes me information with which to construct a reality of space then I congruity with other spatial information stored in I memory, if the contradiction arises remains incurable although I do not watch (but with closed eyes is achieved more concentration on the construction of reality brought by the sounds and some help to make ends meet is obtained, to make ends meet not to actually build a better space and time!).
The vision of a movie associated with the sound helps to put in place a carefully drawn through the tricks that makes the sound information associated with the image inside.
If you were brought blindfolded in a building space would be automatically advance from any environmental noise.
Nothing I can say to a person who has never had the experience of sight, may have fewer problems of fairness and the sounds from that side is better than others. At the end of everything not
There is plenty of material to conduct experiments and observations of play different from the usual?
From the moment it detects an inconsistency there is nothing to do, most do not accept what you hear!
................ YOU AND YOU MUST change!

the brain makes these and other things not yet explained, for example, processes the anterograde masking: masking occurs before there is masking the cause!
I believe it was the wrong way to represent the phenomenology and the brain waits for the information it receives and processes the deferred time and in this way can create an order reversing the time of arrival information that is said to have been form before the arrival of the masking signal.
The explanation is on the edge of pure logic from an otherwise irreconcilable inconsistency: it may have caused some spring return what does not yet acted as if the effect precede the cause!.
All we seem to object is in reality INTERPRETED!
We construct our reality and do not even know why we as part of the construction is done automatically, a part of will and action with one hand, the most insidious, with maneuvers that we hide from ourselves!
See all psychology!

The concept of reproduction in reverberant field is misleading and indeed led astray for the event from alive when modern architects Renzo Piano to design according to the reverberation time ignoring all the stuff.
For live sound has emerged that the listener, establishment of, the reverberant field, no longer perceives the source of sounds, this is an example of deceptive misuse of the listener: if the guy in the audience from the beginning production of sound knows who created them and the relative position and therefore continue to know even in the reverberant field, if it had not misled him say, come from them, even when not perceived as a source.
memory and experience are not factors fit into the physical science, are the constituent elements and drivers of non-invariance them ..... and the scientists are screwed.
have to worry about playing in the first phase of which is what happens when the information runs in virtual environment by creating new sources that contradict those of the real primary information.
establishement of the reverberant field games are made and if you have not prepared properly there is nothing more things to do. The entire
ACOUSTIC technique is not suitable for the description of phenomena and solving problems in the reproduction of musical sounds precisely because it neglects the SPACE TIME HISTORY which is exactly the definition of discounts and without musical sound and then because he never occupied sounds of music played or the overlapping of two space-time events.

With a history of space-time with primary and secondary information, you will have different outcomes for each environment and each environment real fake, you'll know what I hear later, before the issue is put into operation means that they make the fewest mistakes POSSIBLE , and you can do this today because we know what are the errors in the first place, and how not to make it happen in secundis.
You have to do with a signal that is given to you as it is until they started recording in which there is some other ways HYPOTHESIS;
the task of reproduction is to take the strut support and take it to the brain, little or as much it is the ALL, to go beyond you go and make musical sounds in the event live or come up with a story time and space, a sequence that does not contain irreconcilable contradictions in terms of levels and positions of the various instruments.

information that present in the primary disk, secondary information throughout the supply chain that produced the alteration of time of existence and finally produced in the release of the sounds in a listening environment and listening;
reflection, diffraction, spread in terms of both the speaker and the environment. If a source comes
virtual space between the speakers this immediately contradicts information received from the speaker, the reflections arriving at the point of listening to damage a home, a space for sounds that contradicts the original environment.
to reduce as much as possible and to control MAY be the issue, we start with the dynamic stiffness of the speaker and goes back to the history of the wave is doing the wave does not see the speaker, then the need to control reception of sounds (see treatment around the listener).
primary information obtained is not contradicted instrument that sounds rather than hear the sound of the instruments.

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perfect modeling components, and dynamic errors expression.

MODELING A perfectly matched components means that you consider the perfect amp, answer 0 -: - one billion Hz, phase zero, zero distortion, front and lights you like, purple ..... .. Heep, said .....; perfect perfect speaker, as above, etc perfect source. speakers and idem GO TO SHOW WHAT ARE THE ERRORS THAT STILL MAKES THE SYSTEM.
Discover, if you do, that the system error of infinite extent due to non-invariance or of masking, the time domain and the frequency representations are not equivalent (taking this pillar end of the world, are government agencies what it means say), the measures are Strangers, do not make mistakes, you just can not do the physical interaction is called out.
Things to annihilate even the pillars of salt since some common scientific and demonstrates that, instead they are dedicated to the stereo and amenities Deep varieeconnesse measures and correlation with the play included.

I have found that any systematic errors in the system does play the sounds of music and I'm showing the techniques to reduce these errors, the result of performance, what is given to know, it just depends on the level at which everyone wants to drive, as inclusive of all the technical issue is to reduce the times of existence of the sounds of their original value and build from there una storia spazio temporale che conferisca al segnale il massimo della coerenza e congruenza, ancora non è dato di vedere dove si colloca il FONDO!
Siccome alcune tecniche sono molto invasive dell'ambiente (ancorchè imprescindibili) la decisione di attuarle dipende anche da fattori estranei alla prestazione pura; per fare un esempio se uno indica come fare una macchina da corsa l'altro può obiettare che la sua auto deve avere quattro posti e che deve portarci a spasso la famiglia; nascono due mondi pressochè incomunicabili ove se uno pretende di portare a spasso la famiglia con una formula tre lo prendono per pazzo mentre se pretende di mettersi a correre con la berlinona oltre che preso per pazzo fa pure ridere.
La metafora delle auto da Running is also easily extensible by the cost side.
A track day car with a trophy from national tourism costs over ten thousand euro, because someone spends that money? Why
instead of going for a walk starts to turn around and do not even see the landscape and could get hurt?
Why is motivated to do it!

E 'must start at zero. For example, placing importance
zero distortion!
Not because the distortion is important because before but by far the phenomenon has a distorting importance in relation to the phenomena of infinite extent caused by the masking sound in home-related need to have at least a hundred pounds of felt in various ways design and position.
should start from scratch.
For example, developing a technical branch of acoustics that deals with the reproduction of musical sounds, all the acoustic technique known she was involved in sound environments (indoors or outdoors) and acquired all that is useless (what MI care what happens to a meter from where I play?).
should start from scratch. For example
refining methods of listening and bringing to light the mechanisms of deception, just HAPPENS to listen that they form a sound sensation, first, nothing happens!
GO TO MEASURE WHAT HE STILL IS NOT 'NOTHING HAPPENED?
I mean, if these are the billions of athletes at the start this is the Erdini Destination? THEN I DO NOT
MEASUREMENTS, I DO PREDICTIONS!
New categories of observation must be made of musical sounds and old tools thrown into the garbage bucket, deleting such words and concepts related to the focus, macro and micro dynamics, dynamics, speed, and company and starting to look at the systems on a these two main criteria: I listen to the sound of the instruments or devices that sound?
how we perceive the dynamic range of the means of expression that I use?
Within these categories of observation is the consistency of the event space-time through the observation of what sounds belong to the instrument that has them and if prodoti This tool is always the same or change the face of each note. If
sings when she feel like something has made his mind, well, that is otherwise not even bother to listen to and so for the interpretation of any musician!
The techniques developed are applicable to any system, performance will depend, but it seems obvious, how extensively to apply.
The aerodynamics is a science that provides methods and means, the more I learn more and will put in place the devices get more results.
I can also completely disregard it, why should I banned? or in other words: who can force me to put a wing on my car walking?
The personal artifacts of the brain that generates each day do not have the negative value which appears attibuirgli: we are the generators, creators of reality that tricks the brain in the judgments and values, all the activity takes place only under the direct and personal responsibility!
For the rest I do not like the term philosophy applied to things, right or wrong, are to be considered science technique!

... But I submit passing reflection ...... then the harp, classical guitar does not have dynamics?
If a violin plays without level change is not dynamic?
When we introduce into our reasoning the DYNAMIC EXPRESSION where the intensity variation sonora è solo ACCESSORIA?
La SONORITA' degli strumenti descrive e ricomprende TUTTA LA DINAMICA esistente nei suoni musicali; le strutture armoniche ricomprendono e descrivono MOLTO MEGLIO la risposta in frequenza che di per se è priva di SIGNIFICATO con i suoni musicali (vogliamo misurare o rappresentare la risposta in frequenza di una tromba, di un timpano?).
Dovè sta la sonorità negli impianti noti?
Adesso è invalso il concetto della entrata in coppia dell'impianto, mutuando dal gergo automobilistico; una botta di accelerazione per tornare indietro (si dovrebbe dire frenare se andassero avanti......ma.....questi corrono indietro da un pezzo) ad una maggiore barbarie ed incultura.
Certo che se non ci metti do not sound the SOUL!
But even if you damage the soul ..... no sound! Then
speak well of music, when it comes to hijack, and then interpreting what if DYNAMIC EXPRESSION MATCHING in the story and music?

You should discuss in depth, constantly on the change of perspective, I do not know what in fact has got the concept, the difference between the sound of an instrument and an instrument that sounds.
now you can do, but I can only assume, to build the perfect sound of a violin, with all its harmonics and all the envelopes, one that no one in the world can ever do and artificially produce an instrument that sounds, the difference between the two is the different STORIA SPAZIO TEMPORALE CHE PRODUCONO.
La storia spazio temporale consiste in una SEQUENZA che ha l'infinito sincronismo prodotto dall'ambiente dove il suono evolve e l'infinita CONGRUENZA della realtà di prima generazione che non viene "mai" contraddetta.
(il mai si applica in realtà ai soli ambienti stato dell'arte ove l' infinita congruenza si assume "per definizione").
La sequenza è caratterizzata e costruita con i singoli tempi di esistenza.
In riproduzione il compito, che definito il da farsi appare pure "facile", è non alterare i tempi di esistenza e nel portare il segnale all'orecchio nel costruire una storia spazio temporale ove sia prevalente l'informazione primaria e dove ci sia la minima incongruenza.

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Il silenzio

L’analisi dei sistemi suonanti può essere fatta solamente attraverso l’osservazione fenomenologia la quale deve ancora essere costruita nelle categorie di osservazione e nelle modalità di formazione dei giudizi di valore e che deve essere effettuata al riparo dagli errori metodologici di osservazione, al riparo dagli errori sistematici (pregiudizi, aspettativa et similia) nonché dei disturbi accidentali (hai detto fischi!).
Non esiste, da che è dato sapere, nessuno studio relativo all’osservazione systematic sound played music, however, the system variables are so many and range from physical or mental condition at the time of listening to the individual culture, knowledge of the technical system, the emotional reactivity, etc to the liking of the music program.
I would say that even if such research had been conducted today would make little sense in light of system errors due to all the systems known so that the dispersion of the results would have been unrecoverable. A
other indirect verification that nothing has been achieved today derives from the consideration that we should have defined some circles, media and techniques of acoustic treatment for reproduction of musical sounds while We just something about the proportions of the environment and the techniques and means to change the times of decay of sound, both without any criteria extrapolated from the tools of acoustic conventional technique in the case of reproduction of musical sounds is not capable of providing solution no. Moreover
the same criteria with which to design and test environment for listening to live music seem totally mystified and misunderstood as we observe the construction of an auditorium with acres of exposed surfaces of the same type of construction, and living spaces within structures sounding starting from the walls and finally to the distribution systems of air conditioning. The end result is
that the listener has to change the aesthetics of sound!
A delirious ignorance!
The topics are difficult but would also be easier if we could put in front of the same plant or gather and exchange views in a systematic way of pre-classified, from the protocols that define the listening conditions and the boundary (music programs welcome and unwelcome etc.).
repeated that first if nothing happens, something so obvious and so violent to those who want to continue to make measurements and find correlations to be forced to deny that something will happen to listen that physics does not say should happen, step by proposing a subject of observation and discussion: how we define, when and how to observe the silence within the sound of music, both live and in play. We will need to determine whether
is quieter vinyl or CD and will be used for groped to understand what is wrong with the CD and the like.
The occasion will be good, but we do not put too many irons in the fire, trying to understand why an instrument or listening environment there is better than another.
The symptom of having to tell you though maybe a little, silence depends on two types of noise, noise and noise related divorced (or stranger to the sound). It stands detached
noise (the crackle) noise related to sound the sort of dullness of the sound such observable the CD that causes a kind of irritation in not being able to distinguish what kind of world there is the sound and leads (which leads me to the point of not grasp the reason for being that kind of sound).
The dullness of the sound, the lack of an intrinsic silence is also observed in those environments where the sound live crosses without ever being able to freely exist in both single parts in the cast together because the sound that occurs off the space and the life-time.
It 'clear that these concepts need to exchange experiences as easily mean different things each from the same word, this is one of the story to be able to share feelings of listening produced by means of conditions and the most different from each other otherwise it remains in the Tower of Babel present the construction of which was contributed all but very different responsibilities.
Digressions aside I would suggest a fixed point in the observations and reflections: the silence is an attribute that is inherent in the presence of sound, not its absence.
Silence is also be found as a mode of description of space by the sound, feel more and more clear an area with such a sense perception of silence. If someone coughs
live extraneous noise does not alter the nature of the sound environment and then the trouble will not accidentally operates to define the characteristic constitutive of both.
One way to judge the silence can be to see how you perceive the sound is added to the existing one, if the sound is added to cause saturation phenomena of sound sensation, impaired perception of an organized space, the momentary blindness some parts of the sound then we are in a situation of noise related to sound very close to break the silence within the sound.
a formidable means of observation of phenomena related to noise or sound related to its opposite concept of silence is the MP3 where the almost total elimination of the environment in which sounds have been around and the almost total elimination of the relationship between sounds in their time of existence are perceived as lacking the sound of silence inside.
If I play a guitar valuable perceive the performance of the most intricate, crowded without constipation, without the confusion that I look into an instrument of lower quality, the prestige, the quality attribute this to its ability to produce sounds that are not cover with one another and, by virtue of this feature seem to me sound more than capable of producing a sensation of sound and produce more changes in expression.
Such an instrument is defined as quieter than another. More
is capable of producing a loud sound in all its combinations and more expressions and can be defined as rich in silence without noise inherent or related to sound, a sound with more silence finally shows a further feature observed: vanishes, is elusive, and there is no living with or without a border crossing insensitive net and no one can stop the moment of its existence.
The silence of the CD may be related (observed and described) for the live sound of silence.
The problem is, we define the silence and turn it into an exchange of experiences and opinions?
know what will come out in the end? The concept of congruence
!
Silence carries the concept of dynamic (Micro and macro, always go together like jack and croc, who knows who the father of these two!)
The more or less associated with the sound of silence is the element that defines the quality of the musical event is entirely natural that reproduced not address this argument would mean that to understand the world of sounds.

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vibration, dynamic stiffness, soft cones




mode of vibration of the structures (box, speaker, environment etc..) Depends on their form (shape) that determines the modes of its vibration (mode ) you put them together and make the system and you find yourself "mode shape system" or moss. The
mode of vibration depend on the reaction of inertia that individual parts of the structure exchanged between them and the links with the outside world that provides the reaction of inertia (known more precisely with the wider frequency spectrum for the case of forces alternating pattern) at a structural coupling of infinite stiffness and minimum conditions of perfect isolation.
In fact each pair is made by an elastic element (spring) type concentration (in first approximation, such as a conical tip) or a distributed elastic element (the lower wall del diffusore).
Ogni variazione delle condizioni di vincolo del diffusore produce una variazione delle modalità di vibrare, il mondo esterno inoltre è collegato al diffusore attraverso un notevolissimo numero di molle quali ad esempio: solaio, struttura in cemento armato, terreno di fondazione.
Ogni variazione delle modalità di vibrare produce variazioni di entità fino ad infinito ovvero fino alla interdizione di porzioni di segnale presente ai morsetti del diffusore attraverso il meccanismo del mascheramento, da cui discende la sconfinata casistica che osserviamo!
Se le modalità di vibrare che si realizzano vanno a privilegiare alcune frequenze sia in ampiezza che in durata queste sono suscettibili di coprire (mascherare) other frequencies that are nearby.
Here it is the more subtle and broader phenomenon of Deception: The system can appear to be improved!
The highlighting of a part with respect to all makes me feel like some things stronger, as more settled, brings me new things compared to the previous situation, the perception of something that was not there before listening is always judged as an improvement from whom the infinite and uncontrollable series of errors of choice.
So how to behave?
There is only one way, and so all the theories and philosophies of begging, you need to do that the system performs the fewest possible errors, or that the structure del diffusore vibri il meno possibile ovvero che si muova solo la membrana dell’altoparlante (e questo è solo il punto di partenza!).
Per realizzare al meglio l’obiettivo occorre intervenire sul disegno strutturale del diffusore; per un diffusore esistente occorre intervenire sulla sua capacità di vibrare riducendola quanto più possibile ovvero ISOLANDOLO DAL MONDO ESTERNO.
Cooooooomeeeeeee!!!!!!!!!!!
Per mezzo di una sospensione elastica a frequenza subsonica; 5 euro di elastici signori…… 5 euro per la più grande rivoluzione nella scienza della riproduzione dei suoni musicali: il confinamento inerziale dei tempi di esistenza (chissà che me pareva!).
Con l’espressione di Lino, ironia della sorte, sospendi il sistema con un elastico e quello smette di funzionare a reazione elastica e si mette a funzionare a reazione d’inerzia (totale) !
Le molle ad aria…………………….costano troppo……………..ma cinque euro non sono troppo!
E l’immondizia uscita dai cervelli dello scarico delle vibrazioni, dell’isolamento orizzontale ed accoppiamento verticale quanto la pagate?
Qualunque cosa abbiate comprato avete comprato molle senza che lo sapeste ne voi ne il venditore!
SONO TUTTE MOLLE, si distinguono solamente per la frequenza fondamentale propria e per lo smorzamento intrinseco del materiale e già we have a greater damping produces more serious damage.

- there is nothing to download, so you download and so you reload, you must speak in terms of speed and vibration of the spectral content of vibration.
- the vibrations within the system are reduced by preventing the system to vibrate or through the structural design (easy eh!) Or / and through the reduction of trade forces (ie vibrational dynamics with the outside world) that is insulated from the external frequency as low as possible
-l 'only way to isolate a body is elastically suspend
very low frequency.
The only way? The only
!
mode?
Mode! Ironically
if you want to end the operation to spring force and its vibrations in the audio band you must connect to the outside world elastically to subsonic frequencies, and thus begins to operate jet inertia!
-all I can give a name to the physical world is a spring (not the powder that is inelastic)!
the only difference between the different springs is the natural frequency of vibration and damping of vibration, of course, our Lord has made that less damping is more favorable to the isolation (and you thought!)
- as rational mechanics and materials concepts of inertia and immobility in response relative reference band are a little difficult parts (lobsters? no difficult parts .... They're not lobsters!)
-always with reference to our Creator He wanted the whole world worked jet inertia!
So what is better?

The frequency of the system, rightly your friend does not vary with the internal pressure, varying only according to the volume expansion.
As the volume expansion is calculated as a function of the piston area equivalent to be added, although the physics textbooks do not linger, that when the "piston" is the free surface of a membrane, its area can vary as a function of internal pressure because the membrane is to "stick" more or less extensively to the disk drive that supports the load.
In short it harder to say than to understand that there is a problem!
I do not understand what they need the K of the spring. The stiffness K
commonly understood as the relationship between load and deflection (sag or failure) to an air spring can not be defined as the air spring is also defined as a system failure or not has zero sag under load and in fact can be achieve a lifting of the load by increasing the pressure inside!
So the air spring is only defined by its fundamental frequency of resonance. Similarly
do not understand why need to calculate the internal pressure of work according to the load, the maximum can be used to calculate the maximum but this depends on the implementation of the spring or the thickness of the membrane.
air springs are made to work with six professional atmosphere, those in use on buses and large vehicles to transport materials or working on cars to hundreds of atmospheres, the soft moss are sized to operate at a maximum load rating to the atmosphere although they can also work double pressure.
For other questions ... I'm here!

pressure is necessary to float the unit, the pressure in each spring will be different because different is the load that insists on each. That
to adapt to any load distribution is one of the winning of air springs. Again a cross
news: ALL of the seismic base in the world are suspended on air springs; seismic bases are used in many fields of research and technology (holography) where the possibility to observe the phenomenon relates to the ability of the seismic base to hold firm to the relative motion of things to see, without at the level of thousandths of a micron at all frequencies! In the audio field
maybe (maybe on him to leave) are also beyond these NEED '!
has not yet glimpsed the bottom of the abyss which touched the further isolation or conquest of relative immobility does not provide benefits to listening!

A clarification: Eldorado are those soft-shell, abnormal production have independent tank with a hose connected to the body spring air, the tank can be positioned at the desired distance to hide it but it's technically better to keep it near the spring.

The cone moved so formidable because the vibrations on the tip of the pressure has shot up and the pairing is perfect!
Good!
And he transfers the vibration to download those?
Through what?
are transferred to the cone through the base area ........ but if that area is likely to pick them why not be appropriate to submit?
Then we put the cylinders under the appliances!
And why not?
In ogni caso se occorre un elemento molto rigido per trasmettere le vibrazioni su tutta la banda audio cosa conviene fare per aumentare la rigidezza?
Allora vediamo ............nella formula che fornisce il K, coefficiente di rigidezza, al denominatore c'è l'altezza del cono (o cilindro) dunque più riduco l'altezza e più il sitema è rigido.
E se l'altezza la porto a zero?
Ottengo una rigidezza infinita!
Il cono più rigido che esiste in natura è quello CHE NON C'E?
Una lettera di tale tenore inviata a chi so io per confutare il relativo articolo apparso sulla rivista non è mai stato pubblicata; nell'articolo di che trattasi quello era lo sfondone più piccolo, il più grande was to consider the cone as consisting of mass and spring (giusto!) and considered as the sole "machine" and not existing as a "machine" that adds to that with which it interacts! If the cone
adds I see now that the system reduces its dynamic stiffness, it also sees a child escaped from the school: one can not increase the stiffness by adding a little softness at will, and if I do not add anything to the max!
INCREDIBLE!

_____________________________________________________________________________________________________________________

Speakers




The most important issue, immediately successivo al primo, riguarda il numero di VOCI con cui immettiamo i suoni in ambiente:
Due diffusori: nell'uno c'è l'informazione dell'altro con una intensita corrispondente alla diafonia.
In un diffusore a tre vie (il tre vie è imprescindibile come vedremo in altre discussioni) abbiamo tre voci che ripetono la stessa canzone a meno della attenuazione al variare della frequenza prodotta dai filtri.
Ogni altoparlante emette due onde, anteriore e posteriore; l'onda posteriore viene immessa in uno stanzino davvero piccolo piccolo, li combina sfracelli e noi la riascoltiamo fuoriuscita dalla membrana che è trasparente.
Ergo: COSA ca**o CI STA A FARE il diffusore se non a produrre danni........ma.......eliminarlo ed emitting dipole E 'WORSE!
wave back excites the vibration modes of the structure of the speaker, each wall becomes a speaker that emits into space in an uncontrolled way and unknowable, each wall emits a wave front and one rear.
In fact, each speaker is transparent at low frequencies, precisely where they justify their existence.
AZZ!
6 +6 +12 +12 = 36 .... ..... we are at thirty-six entries and at least he got the right signal!


We have two speakers perfect.
The sound they make as we "bring" to the ears, which then transmit it to the brain that makes us over his somersault.
As we enter the most perfect sound in the environment?
i lie down diffusori a guardare il soffitto?
Perchè no?
Ne mettiamo uno davanti ed uno di dietro? (fossimo donne di mondo....pure ...anche!)
Perchè no?
Li dividiamo in due la parte che emette i bassi la mettiamo in cucina, che si sente meglio, e l'altra in salotto che occupa meno spazio?
Perchè no?
E se il suono è emesso da diffusori che non sono perfetti?
E che vuol dire diffusore perfetto?
Da quando il suono lascia i diffusori comincia il regno della non invarianza, la FISICA non centra più, si hanno fenomeni di ampiezza infinita nella percezione, sadda descrive tutto nel dominio del tempo, me gabido de no gabido.....dige moreddo....si combatte col CAOS scatenato da onte lunche and short waves, even in the absence of sparampazza, so that afterwards whereupon the man ...... audiophile SUFFERING!

speakers emit sounds according to amplitudes and directions and uncontrolled number of unknowable because of their ability to vibrate.
course because the other Indian leaders have already said: AUGH!
leaders have infinite dynamic stiffness in-band or work for the first and only time the world is just to move the diaphragm.
And who wants to be a need to copy because there are other ways!

Of all the measures that .... YOU CAN NOT DO .... our scientists have done that at one meter on axis in an anechoic environment OR SIMULATED that ANEC EXCLUDING THE ENVIRONMENT.
ECCHECCAZZO!
If you ask what the f ** k or need, THEMSELVES .... nobody available to you NOTHING!

rear speakers emit a wave that evolves within the box or directly into the environment, the useful signal and error signal LEAVE with the same force, the (i) sfracelli are hard to describe.
The recorded sound that already has the space-time evolution in the environment of origin, must evolve again into play: the interference between the two environments combined havoc hard to tell. Then
: reduced number of items issued, starting from the wave back, emission monitoring and control of reception, information maximization primaria e riduzione dell'informazione secondaria.
E si COMINCIA!

Tralascio le questioni relative all'effetto doppler e quelle legate al rapporto tra dimensione della membrana e lunghezza dell'onda; ribadisco solo che un altoparlante da 17 cm è IL PIU' GIGANTESCO che si può mettere in campo per SPERATE di riprodurre i suoni musicali.
....dopo aver convissuto per tranta anni con altoparlanti del diametro di 76 cm (Patricia Electrovoice) di cui i due diciassettastici riproducono con la stessa POSSANZA le parti basse dell'orchestra sinfonica.
La differenza tra i due?
Non sono differenza che attengono ai componenti ma sono differenze di SISTEMA, una differenza di trenta decibel in meno di mascheramento e l'effetto dela modellizzazione a componenti perfetti ovvero l'eliminazione degli errori SISTEMATICI, ovunque e comunque siano presenti.
Un altoparlante di dimensioni superiori a 17 cm NON E' COMPATIBILE

I problemi di tutti i diffusori sono due: il controllo della risonanza fondamentale della membrana e la separazione dell'onda anteriore da quella posteriore.
Il primo problema che ha cosi fortemente impegnato le menti di tutto il mondo è da considerare risolto.
Che significa risolto?
Significa che se conosci la materia fai tutto quello che vuoi e di più.
Il problema della separazione tra onda anteriore e posteriore è un pochino più tosto ed inoltre non ci si aplica nessuno.
A bassa frequenza la struttura the box is transparent, and the wooden wall of the speaker is not a barrier to escaping the wave back, it's as if there was why I said that it does work all dipole.
order that the wall is not transparent, it should not vibrate and also must have a high capacity to reflect incident sound (which is almost the same thing).
addition to single wall should not vibrate the whole box with all the complexity of its structure and then the miracles even under current conditions!
The Indian chief has a structure of cast aluminum with a thickness of 30 mm in the shape of a truncated cone with the small base facing the listener. Instead of six walls
vibranti ( abbiamo di fatto altre dodici voci che emettono suoni in ambiente in modo incontrollato e pressoche inconoscibile per la filtratura che ciascuna effettua sul segnale che la eccita) ne rimane una sola che essendo curva è ulteriormente rigida.
Alla fine della storia i primi modi di vibrare della struttura sono superiori alla banda di lavoro del woofer, si consegue in tal modo una rigidezza dinamica infinita in banda di lavoro ovvero si muove solo la membrana ovvero la parete del diffusore non riemette ovvero riesce a formare una barriera che separa l'onda anteriore da quella posteriore.
Non lo fa tuttavia per tutto lo spazio dell'ambiente domestico ma la soluzione finale, non ancora sperimentata è l'immissione dell'onda posteriore all'esterno listening environment thereby eliminating a source of error in origin is the same size of the signal. Currently
the wave back is maximally absorbed by acoustic traps inside the speaker while the part that emerges from the rear diffuser is further controlled by traps acoustic felt also very effective at low frequencies (some photos are posted there 3d).
So even in the far back of the wave produced is a very small amount of damage and still incomparable to anything known.
The full modeling of the speaker, perfect modeling component is even more complex and poses additional problems that are addressed and solved through the techniques of emission control and monitoring of the reception of sound. Without
steps in the directions indicated the history of hi-fi is over, the modeling component shows a perfect amount and extent of bias, which if not removed do not allow the progress of the performance.
The modeling component is perhaps the perfect thing he does more "afraid" to insiders, the first because it does not mean it does not even know how to stutter for the second because it means having to go over ground or moss have arrived seconds!
Modeling Component perfect, so for all components, take for example a speaker perfetto, risposta piatta fino a un milione di Hz e fase zero, immagina di averlo.....( imagine, John Lennon)....... e prova a vedere quali errori compie ancora quando emette i suoni.
Ogni errore ha un rapporto rumore su segnale di ampiezza infinita, matematicamente infinita, non solo come effetto possibile sulla sensazione sonora!
Se ci riesci ti diverti.........è troppo forte!!!!!!!!!!

• struttura in fusione di alluminio dello spessore di 30 mm a forma di tronco di cono interamente sospesa su molle ad aria a frequenza di 1 Hz;
• i primi modi di vibrare della struttura sono superiori alla banda di lavoro del woofer, in tale modo si consegue una rigidezza dinamica infinita in banda di lavoro; the only thing moving is the membrane making the condition of the axiomatic translation of the signals provided to the speaker;
• the rear sound field is axially symmetrical, the speaker diaphragm undergoes the least amount of assymetrical, the wave is back maximally absorbed; in achieving great outdoors is directed especially to prevent interference with the wave front;
• The speaker does not produce the "Sweep" formed by the evolution of the wave back into the box of conventional design, the sound is produced inside the box is out of the speaker membranes that are transparent to the sound;
• the speaker is designed to achieve control of the emission of sounds, at that particular area is realized in the control of the reception in order to increase the primary information (contained in the recorded signal) and lower secondary education (that produced by ' evolution of the sound in your listening room), for reasons that here is long and complicated to explain, the listening room MUST EXIST or is the rule out altogether the use of an anechoic environment;
• the speaker produces no refraction, diffusion or reflection of sound, it is almost completely invisible to the wave of sound which evolves into the audience, in association al trattamento acustico circostante vengono eliminate tutte le sorgenti virtuali che nascerebbero al crearsi di detti fenomeni; per questi ed altri motivi il diffusore compie il minor numero di errori nella immissione dei suoni in ambiente.

La membrana dell'altoparlante si rapporta con la lunghezza d'onda del suono che riproduce.
Il tweeter ad esempio ( tagliato a 3500 Hz per comodità di calcolo) emette suoni con lunghezza d'onda da 10 a 2 cm.
Se la membrana è estesa ripspetto alla lunghezza d'onda il punto di emissione non è più unico; suoni emessi da più punti distanti tra loro arrivano secondo percorsi diversi all'orecchio con insanabili problemi di interferenza che danno luogo a cancellazioni e rinforzi del suono.
The plant reproduces the recorded sound, the speaker must give the series of beeps as received by the microphone.
When the speaker enters the ambient sounds in HAPPENS A NEW SPACE TIME EVENT that takes place while the account of the event space-time registered it with another if it overlaps a caoticizzare effect of information and dilute the loudness.
The occurrence of overlapping of two space-time events DISCLAIMS ALL ACOUSTIC TECHNICAL NOTE from being able to provide solutions!
Not for absolute incapacity and inability to quota constituent but never having PROBLEMS FACED BY THE SIDE!
should then maximize the information contained in primo evento e ridurre ( controllando l'emissione e schermando la ricezione dei suoni) l'informazione secondaria, quella dovuta all'ambiente.

Lorenzo Russo