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Re Valve amps



 
 
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  #511 (permalink)  
Old August 11th 04, 02:47 PM posted to uk.rec.audio
Mike Gilmour
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Posts: 620
Default Re Valve amps


"Keith G" wrote in message
...

"Jim Lesurf" wrote in message
...
In article , Keith G
wrote:

"Jim Lesurf" wrote in message
...


As I said at the time, if my kit sounded as bad as the 'Chloe's
Concert' I attended at the RAH a few weeks back I would cart it

over
to the river and drop it in.....

Well, if it had been reproducing a broadcast/recording of the said
concert that strikes me as the wrong reaction. Might then be more
appropriate carting away the performers for an 'early bath'... :-)



No, the performers were fine for the most part, it was the 'PA system'
that ****ed me off and the 'compere', coupled with a pretty cheesy
programme.....


It does seem to be the case that 'PA' systems in some places tend to be
dire. Our local theatre put on an excellent range of productions, and we
mostly enjoy going to them. However the bane of the place is the 'sound
system'. They keep using this at far too a high a volume. Painful to

listen
to, and tends to obscure the details, destroy any natural image, etc.

Can probably sum it up by saying the use 'Bose' speakers. :-/



The main problem at the RAH was that we were quite high up in the cheaper
seats, almost level with the speakers. Close your eyes and 'find' the

sound
and it was dead ahead (coming from the speaker array, not surprisingly),
look down and the performers were a long way below and away.....

Once you were aware of that, the whole thing was just too 'fake'
irrespective of the cloudy (slightly compressed, I suppose) sound quality.


More than once we have left well before the end just to get away from

the
racket. Shame when the performers themselves seem quite good in some

cases.
However either the performers have no say, or they have zero clue to how
bad the sound system is...



Yes, the performers were fine (the 'massed voice choir' both looked and
sounded just a tad 'seedy') but the 'sound' and cheesy programme were the
main offenders!






Yes a bit of a mixed bag way the massed voice choirs sounded, thought the
first 'un Elgars Music Makers IMO was exceptionally good. Same goes with
orchestras I suppose, even though I should applaud what the youth orchestras
do I really couldn't get into Smetana's Vltava the other night..so went off
and did something else. I'm sure millions enjoyed it though...mebee its just
me ;-)


  #512 (permalink)  
Old August 11th 04, 03:17 PM posted to uk.rec.audio
Jim Lesurf
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Posts: 3,051
Default Re Valve amps

In article , Wally
wrote:
Stewart Pinkerton wrote:


Mind you, the LS3/5a is a quirky little speaker - it does have a
magical midrange balance, but the treble is restrained, it will not
play loud, and it has a notoriously boomy 'hump' at 110 Hz to disguise
the fact that it has no real bass. It was designed (and voiced) as a
near-field monitor for Outside Broadcast vans, not as a domestic hi-fi
speaker.


Yup, I read a bit about them a while ago.


I have a pair of LS3/5A's and was listening to them whilst reading this
thread this morning. FWIW I'd say they were quite decent speakers provided
you don't ask too much of them, but I don't really agree with those who see
them as outstandingly good for domestic audio purposes. My experience is
that played at modest levels in a limited space they sound OK, but not
great. Useful for monitoring if you are used to them, hence fine for the
purposes for which they were originally designed. However although it seems
logical to use them to listen to BBC broadcasts that may have been balanced
using them I'd suspect the differences between an OB environment and a home
may spoil that arguement.


I can see the attraction to analogue in the sense that there aren't
any 'gaps'.


There aren't any 'gaps' in digital, I do wish people would stop
spouting this nonsense.


Doesn't the reconstructed waveform become less accurate as the frequency
goes up? Less bits per wavelength and all that.


I'm afraid that the meaning of what you write about is either ambiguous or
unclear. However the short answer to your question is probably, "No" if you
are asking about conventional LPCM (as used in CD-A) used in a way that
fits the basic requirments of information theory. :-)

Provided the samples are taken correctly they describe the *entire*
waveform shape even at instants in between the samples. This can be
formally proved from the math of information theory *provided* the sampling
obeyed some specific requirements and the signal is correctly
reconstructed. Thus there are 'no gaps' to worry about.

Mind you, if you were thinking of SACD, the answer might be different...
;-

Also if the recording or replay is not done correctly...

Slainte,

Jim

--
Electronics http://www.st-and.ac.uk/~www_pa/Scot...o/electron.htm
Audio Misc http://www.st-and.demon.co.uk/AudioMisc/index.html
Armstrong Audio http://www.st-and.demon.co.uk/Audio/armstrong.html
Barbirolli Soc. http://www.st-and.demon.co.uk/JBSoc/JBSoc.html
  #513 (permalink)  
Old August 11th 04, 03:25 PM posted to uk.rec.audio
Keith G
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Posts: 7,388
Default Re Valve amps


"Mike Gilmour" wrote


orchestras I suppose, even though I should applaud what the youth

orchestras
do I really couldn't get into Smetana's Vltava the other night..so went

off
and did something else. I'm sure millions enjoyed it though...mebee its

just
me ;-)



No, did exactly the same thing - Smet and Mahler - two of my very faves
(especially Smet on Supraphon and Mahler on anything...) and I gave it a
wide berth simply because it was a 'youth orchestra'. Yes, Iknow they are
very good and I feel ****e about it, but I just can't hack it with work that
is so far *up* my Top Of The Pops ladder....



  #514 (permalink)  
Old August 11th 04, 03:33 PM posted to uk.rec.audio
Keith G
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Posts: 7,388
Default Re Valve amps


"Wally" wrote in message
...
Keith G wrote:

OK, but only as an excuse for my 'not-so hidden agenda' of trying to
kill the 'bitch-slapping' that valves get in this group (pretty much
like vinyl was getting a year ago)


All they're really doing is stating their own criteria for enjoyable
reproduction of music, but doing so in terms of what they think *your*
preferences wouldn't do for them.



No Wally, it's worse than that - you state a preference and they tell you
you're *wrong*, Rosie goes that bit further and twists what you say to give
himself the chance to show off a bit without considering the consequences.
(Killing really, because, by degrees, his audience is reaching for their
coats....)


snipped but not necessarily disagreed with


Also I'm getting to the point where 'connected all day' is becoming a
PITA...


Just because it's connected all day, it doesn't mean that you have to use

it
all day. Do you run your taps all day just because they're permanently
connected to the water supply system?



Sure, doesn't everybody...??? :-)



(Nevertheless, I do wonder what this thread's up to now? :-)


The target has been acheived. :-)



OK, I'll try and ignore the bull**** from now on then - no promises, mind -
and see how it goes re. Pipex. (I'd cancel it immediately but Swim says we
should keep it on...!!!??)

;-)




  #515 (permalink)  
Old August 11th 04, 03:45 PM posted to uk.rec.audio
Keith G
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Posts: 7,388
Default Re Valve amps


"Keith G" wrote


OK, I'll try and ignore the bull**** from now on then - no promises,

mind -
and see how it goes re. Pipex. (I'd cancel it immediately but Swim says we
should keep it on...!!!??)



OK, I'm glad this has showed up - I've just hit 'mark conversation as read'
by accident and lost about 17 (?) posts, so apologies to anyone still
expecting a response! (Not 'undoable' AFAIK...??)

(Seems my fingers are getting fed up with all the bloody typing and are
acting independently! - Who am I to argue...??? :-)





  #516 (permalink)  
Old August 11th 04, 03:53 PM posted to uk.rec.audio
Wally
external usenet poster
 
Posts: 395
Default Re Valve amps

Keith G wrote:

All they're really doing is stating their own criteria for enjoyable
reproduction of music, but doing so in terms of what they think
*your* preferences wouldn't do for them.


No Wally, it's worse than that - you state a preference and they tell
you you're *wrong*,


If they're saying that, then my comment is still valid - wrong only in terms
of the criteria that they think are applicable. If your criteria differ
from, or include more than, theirs, then all it is is just a bunch of words
which have less relevance to you than may at first seem. Don't sweat it,
dude - it's all just ones and zeros at the end of the day.


OK, I'll try and ignore the bull**** from now on then - no promises,
mind - and see how it goes re. Pipex. (I'd cancel it immediately but
Swim says we should keep it on...!!!??)


Why don't you get a hosting deal somewhere? Think up a domain name, register
it, and point it at your ISP-independent hosted web space. My domains cost
about £7.60 a year, and the hosted web space is £50 a year (50 megs, decent
bandwidth, 10 email address, loads of other stuff). For domain reg, try
www.firstns.com or www.123reg.com, lots of hosting about - I use
www.flump.net and find them very good. (FirstNS and Flump are the same
people.)

Once you have this done, you can switch ISP to your heart's content, but
your domain and email addresses will remain constant.


--
Wally
www.artbywally.com
www.wally.myby.co.uk


  #517 (permalink)  
Old August 11th 04, 04:01 PM posted to uk.rec.audio
Jim Lesurf
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Posts: 3,051
Default Re Valve amps

In article , Wally
wrote:


If I sample a 22.05KHz signal at 44.1KHz, what shape will I get when the
signal is rehydrated?


A violation of the Sampling Theorem, thus a failure to record as is
required for a meaningful and unambiguous result. :-)

The key point to bear in mind is that the sampling theorem actually
requires the sampling rate to be slightly *greater* than twice the
bandwidth for samples taken at regular intervals. Thus your question is
about a 'pathalogical' case which sits on the edge of violating the
sampling theorem. This is why you get the loss of information and ambiguity
problems you go on to describe in the rest of your posting. Alas, many
books and articles on this topic fail to make this critical point clear.

One way to look at this is as follows...

For a finite number of samples the required number can normally be taken to
be 2N+1 uniformly spread across the sampled waveform duration where the
'2N' value comes from the ratio of "2" that is usually quoted in casual
discussions. Note the "+1" which means you then satisfy the actual Sampling
Theorem requirements. Not just "2N". However with long durations and wide
bandwidth "2N" ends up so much bigger than "1" that the values 2N and 2N+1
become 'identical' for most purposes - but the difference remains as a way
to catch people out by confusing them with pathalogical examples and
paradoxes. :-)

To try and make that clearer in practical terms, take two (mono) examples.
One is a 1 second recording at CD-A rate, the other a 10 second recording
at CD-A rate.

To record 1 second you actually need to sample 44,101 instants. The first
at time = 0 (i.e. the start of the recorded duration) The 44,101'st sample
will be at time = 1 sec.

For a 10 second recording the same argument means you require 441,001
samples. Ten times as long, but not (quite) ten times as many samples. :-)

The longer the duration, the closer 2N and 2N+1 become. However even when
you ensure this, you still get a bandwith 'just less than' 22.05kHz by the
ratio 2N/(2N+1) for 'arbitrary' waveforms. Longer duration recordings can
actually get closer. This also follows from the meaning of 'frequency' in a
measurement context where the higher the precision we require, the longer
the duration of our observation has to be (for an 'arbitrary' waveform).
Also from the requirement that the recording be 'unambiguous'.

In practice, systems like CD-A use a fixed rate, but the *number* of
samples you get for a given duration is not in the 2/1 ratio you assumed.
There is one extra value. The precise practical/meaningful bandwidth also
depends upon the length of the recording, but the closeness of the approach
to 22.05kHz is so good for sensible durations that for most purposes
engineers don't normally have to worry about this. It only crops up in
places like the 'paradox' you describe below...

The information you record is about the whole pattern during the recorded
duration.

The above is a bit arcane, but I hope it makes sense... :-)

[If you are not careful, I'll also start explaining why "2N" values for
FFT's can still be OK despite the above... ;- ]


If the first sample occurs at the positive-going crossing point, then
the next sample will be at the negative-going crossing point, and so on,
resulting in a rehydrated wave of zero amplitude.


If the first sample occurs at the positive peak, then the next will be
at its complementary trough, and the rehydrated wave might mirror the
original signal.


If the first sample occurs somehwhere between a crossing point and
peak/trough, then the rehydrated wave will have the same frequency as
the original, but the amplitude will be reduced.


I might be wrong, but I don't see how a rate of two samples per
wavelength can guarantee to rehydrate the amplitude of the original
signal without assuming that the samples have been taken at the peaks
and troughs of the original. Granted, a few more samples per wavelength
might provide sufficient basis to infer the actual shape of the original
signal, but I still feel that it could be a bit iffy at certain
frequencies.


Isn't there also an assumption being made as to what shape the original
wave had (sine, triangular, etc)?


Nope. The sampling theorem is based upon requiring the sampled waveform to
have no details whatsoever outwith the bandwidth for which the Sampling
Theorem would be satisfied by the chosen sampling rate. Thus if the
'harmonics' that distinguish these waveshapes fall within the bandwidth
they should be recorded by the series of sample values. If any frequencies
are outside this bandwith, the waveform is not being correctly sampled.

Thus it is a strict requirement that the waveform to be sampled must only
contain power within the bandwith specified. If not, the recording becomes
ambiguous - i.e. distorted and cannot be correctly reconstructed without
other information.

Hope the above helps. Apologies if my explanation is clear as mud! :-)

Slainte,

Jim

--
Electronics http://www.st-and.ac.uk/~www_pa/Scot...o/electron.htm
Audio Misc http://www.st-and.demon.co.uk/AudioMisc/index.html
Armstrong Audio http://www.st-and.demon.co.uk/Audio/armstrong.html
Barbirolli Soc. http://www.st-and.demon.co.uk/JBSoc/JBSoc.html
  #518 (permalink)  
Old August 11th 04, 04:04 PM posted to uk.rec.audio
Jim Lesurf
external usenet poster
 
Posts: 3,051
Default Re Valve amps

In article , Wally
wrote:
Keith G wrote:


OK, but only as an excuse for my 'not-so hidden agenda' of trying to
kill the 'bitch-slapping' that valves get in this group (pretty much
like vinyl was getting a year ago)


All they're really doing is stating their own criteria for enjoyable
reproduction of music, but doing so in terms of what they think *your*
preferences wouldn't do for them. As I've said before, I think there's
more to it than sheer accuracy of reproduction (note that, when I asked
Dave to elucidate on just what it is that my valve amp is adding or
taking away from the sound, there was no answer).


I can't speak for Dave. However I made no comment as my simple response
was, "Don't Know" if you are asking about a specific amp/system I've never
heard or tried, playing music I am not familiar with. However it is easier
to make 'generic' comments about what many traditional valve amps might do
the to sound. These are generalisations, though, so may not apply in your
(or Keith's) specific cases...

Slainte,

Jim

--
Electronics http://www.st-and.ac.uk/~www_pa/Scot...o/electron.htm
Audio Misc http://www.st-and.demon.co.uk/AudioMisc/index.html
Armstrong Audio http://www.st-and.demon.co.uk/Audio/armstrong.html
Barbirolli Soc. http://www.st-and.demon.co.uk/JBSoc/JBSoc.html
  #519 (permalink)  
Old August 11th 04, 04:25 PM posted to uk.rec.audio
Wally
external usenet poster
 
Posts: 395
Default Re Valve amps

Jim Lesurf wrote:

I can't speak for Dave. However I made no comment as my simple
response was, "Don't Know" if you are asking about a specific
amp/system I've never heard or tried, playing music I am not familiar
with. However it is easier to make 'generic' comments about what many
traditional valve amps might do the to sound. These are
generalisations, though, so may not apply in your (or Keith's)
specific cases...


I was referring to those who say that only the top end of valve amps are
worth bothering with. My point is that, while good fidelity can be an
important part of enjoying reproduced music, I don't think it's the be-all
and end-all. Certainly not to the extent of asserting that someone's choice
of kit is 'crap' in some absolute sense. It's a nonsense concept which
should be prefixed with something like "with reagrd to my personal
preferences, ...".


--
Wally
www.artbywally.com
www.wally.myby.co.uk


  #520 (permalink)  
Old August 11th 04, 04:36 PM posted to uk.rec.audio
Glenn Booth
external usenet poster
 
Posts: 160
Default Re Valve amps

Hi,

In message , Mike Gilmour
writes

Why is it that with all the recent audio advancements that cinema sound is
so pants - at least it is in our local mutiplex. What we used to call
intelligibility in the comms game seems to have gone right out of the window
only to be replaced by fake sounding surrounds with loud FR limited bass
response.


FR in our local cinema can only stand for "farts and rattles". The sound
is dire. I'm going to have to stop going, I keep annoying my wife with
comments about it.

--
Regards,
Glenn Booth
 




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