For audio, the high or low quality of the equipment will be reflected in the details of the sound, and will be displayed in the micro-dynamic density of the sound. In addition to details, the improvement of sound quality can be obtained through system settings in many cases.

This article contains a lot of content. The sequence is: setting goals, basic requirements, basic skills, basic recognition, and the difference from the usual sound settings. Experienced audiophiles can refer to it selectively.

The original text is written in Chinese and the English version is translated by Google.
If in doubt, please refer to the original text.

SFR Settings

Various types of audio equipment have their own sound characteristics. If you understand these characteristics, you can quickly and accurately find the relevant position of the problems found during the setup process. We have Sound characteristics of audio equipment on another page. Hope these materials can help you set up your audio system.

This is a setting to improve the functional quality of the audio system. The sound room layout and speaker placement are the same as the usual sound system settings. This setting is also a continuation of the original setting, it is to find those parts that affect the accuracy and replace them. After replacing the WRT cable in most high-end audio systems, the analysis capabilities can be improved, and the music playback can more accurately restore the ambient sound of the original recording site, and even directly reach the SFR sound quality. In addition to the quality of the components, some problems that are not easily detectable can also affect the effective performance of the audio system. Therefore, this setting is also a process of finding the location of these problems.

The following changes can obviously affect the analysis capabilities of the audio system.

  1. Set up a separate ground wire for the audio system. This can significantly improve the sound quality of music playback.
  2. The Power Conditioner can filter out the interference from the power grid. But it may also increase the internal resistance of the grid, thereby hindering the supply of energy.
  3. Changing the position of the power supply board of the power plug of each equipment can change the sound state (the emotional state of the sound).
  4. Turning off the power supply to all other electrical equipment can reduce interference. In particular, switch-mode power supply electrical equipment usually have a larger radiation interference.
  5. Some dimming lamps or governor device may interfere with CD player (or digital player).
  6. More than one powered CD (or digital) player. Regardless of whether these devices are in operation, they will still generate mutual interference.

Using the CD player
a) After 10-30 minutes of driver motor operation, the CD player will read less error;
b) Every time it stops running, the drive motor has to run for a short time before it can return to a stable working state;
c) After track jump (select a song track), the player needs a moment to return to optimal conditions;

In the above two cases b) and c), there is a difference in sound quality between the two operation modes of direct play or play after a period of pause. A audio system with high analytical capabilities can clearly reflect this difference in sound.

Sound quality
If we consider the role played by the audio system, we exclude the price factor to evaluate its sound quality, which can be divided into three levels: Acoustic, Music and Sound Field. The audio of the sound is rather blunt and fails to accurately express the original mood of the music. Musical sounds can express emotions more accurately and are softer, but still lack some details. The sound field sound has more original music details, can accurately restore the original environmental sound, and is closer to the music performance scene. The following is a setting to improve the sound quality of your audio system to the sound field level.

Before setting, let's first look at such an example. Harppiano, and double bass, these three musical instruments all produce sound by vibrating strings. Affected by factors such as the way the strings are touched, the physical structure of the instrument, and other factors, there are some differences in the initial stage, the strong stage, and the continued ending stage of their sound. Listen to the fourth paragraph of CD DG 437 806-2 Tchaikovsky Ballet Suites. In the previous 3 minutes of music, the harp sound was used as a foil to bring out a melodious music. Have you heard from this piece of music that the harp sound has become a piano, xylophone, double bass, or other instrument sound? In this few minutes of music, only a few musical instruments are playing, and there is no big dynamic. If the music playback of the audio system still fails to correctly express the type of musical instrument, then the analysis ability of this audio system has an area that can be improved.

Sound pressure field
This setting requires the audio system to accurately restore the sound pressure field of the original music performance site. Understanding the characteristics of this pressure field can facilitate you to correctly judge the accuracy of the sound field.

The physical structure of the musical instrument disturbs the air, causing regional fluctuations in air pressure, thus producing sound (please read SoundSound PressureSound Wave).

The low-frequency component of the live sound of music performance includes two parts. One part is the low frequency component of the sound of the instrument. It reflects the timbre of the instrument and forms a complete instrument sound together with other frequency components. The other part of the low-frequency component is the effect of environmental sound and the performance of the performer's control of the instrument, which causes the intensity of the sound pressure to periodically change over time, thereby bringing out a low-frequency component whose sound pressure amplitude is modulated. The frequency of this modulated low frequency is lower than the frequency of the instrument sound. Specific performances such as: layered sound waves, the vibrating sound of a musical instrument on a certain note, the vibrating voice of the singer, etc.

This modulated low frequency exists in the music performance scene. Whether the audio system can restore this low frequency is not limited to the frequency response characteristics of the speakers. Unless the modulated sound pressure is generated from a frequency that cannot emit sound on the speaker.

The accuracy of the sound field will be limited by the linearity of the audio system's electrical signal conversion into sound pressure.

At the same time, the accuracy of the sound field is also limited by the frequency response characteristics of the audio system. The difference in the sensitivity of the sound produced by each frequency component affects the accuracy of the sound field. However, this effect is linear, just as the same kind of instruments have different timbres. It will only cause such a difference that the music performance comes from different concert halls.

Summarize the above content:

  1. The sound field contains a low-frequency component produced by the modulation of the sound pressure intensity;
  2. Whether the sound system can restore the modulated sound pressure field of the original performance scene is not necessarily related to the size of the speakers;
  3. The electrical/acoustic conversion linearity affects the accuracy of the sound field;
  4. The frequency response characteristics of speakers (or audio systems) will affect the timbre of the instrument, and also affect the accuracy of the sound field to some extent (different concert halls).

A highly accurate music playback system can achieve this effect: controlling the volume, only changing the distance between the listener and the band, but not changing the sound state (emotional state of the sound) and timbre. And, the sound state inside and outside the room remains unchanged.

Modern recording technology can completely obtain all the information on the music performance site and place it on the media. The audio system picks up the signal from the media, and after amplifying it, it is converted into sound by the speaker. This process is the whole process of electric/acoustic conversion of the audio system.

Any distortion of the audio system is ultimately linear distortion. This will change the waveform of the music electrical signal, and it will be reflected in changes in timbre and ESS (Emotional State of the Sound). We only need to use an effective sound recognition method to set it up to minimize the linear distortion of the audio system and let the music playback reach the sound quality of the sound field.

Next, we will introduce this voice recognition method. After understanding these contents, we can adjust the audio system configuration, change the cable, change the position of the power plug, etc. Identify the linearity of the audio system by identifying the sound. Once you master the technique, you can make this setting more efficiently.

Test disk
Choosing the right test disk is the first step in setting up and is an important link. This setting is for the audio system to be able to restore natural and real sound. Therefore, as long as it is a rigorous live recording and a CD disc produced with high-quality compression technology, it is a good test disc. The DG 437 806-2 we mentioned earlier is a very good CD with a lot of beautiful music recorded. As a test disk, it has been with us for more than ten years, and I recommend it to everyone here.

At present, there are some CD discs, if you want to get the correct data from them, you need an extremely accurate CD player (see CD disc data jitter). This will be an expensive requirement for current consumer equipment. Therefore, we have prepared a very low jitter test disk for you. This test disk can make the player less or no errors. Even with such a test disc, you still need a high-quality CD player to ensure that there are few or no errors in the data.

People can also find some high-quality CDs on the market as test discs. For example, some early CD discs produced by CBS, Nimbus, Sanyo, etc. In our tests, these CD discs always have relatively little data jitter. Especially some CDs with Disc MFG Inc (H) printed on them. If these CDs are played on a high-precision player, they can still be used as a reliable source of audio systems.

LP as source
There is a big difference in sound quality between various LP turntables. Normal level players may lack some musical details. This will affect the restoration of the original environmental sound. High-level players will improve in this regard as they can get more original music details. In addition, for different LP preamplifiers, the reverse equalization circuit and the equalization circuit at the time of LP production may have different degrees of phase difference, which will affect the accuracy of the sound field. This kind of phase difference between equalization and reverse equalization exists in equipment of any level. And the degree of difference is not necessarily related to the level of equipment.

Because of the above reasons, when the LP player is used as a signal source, this setting may not allow the audio system to accurately restore the original environmental sound. However, for music playback, this setting can still improve the accuracy of the emotional expression of the music and the naturalness of the sound. If we are not sure whether the CD player can be used as a reliable signal source, first use LP to make a system setting for music playback, and then the SFR setting will be easier.

The timbre of the sound can easily mislead the audio system settings. The audio system plays music, there are many factors that affect the timbre of the sound. Of the various tones we heard during the setup process, only one of them was correct. That is which tone is adjusted by a professional mixer under the guidance of the record producer. Every record producer has his own personal style. This style will be involved in the production of records, so we can hear a variety of different production styles from these many CDs.

The purpose of this setting is to improve the analysis capabilities of the audio system. The sound system can accurately restore various production styles with high analytical capabilities. If the timbre is used as the object of identification in the setting process, and we have no way of knowing which record producer has what kind of production style. It is very difficult to find a correct timbre from many errors. Intentionally or unintentionally adding a certain timbre will reduce the analysis capability of the audio system. Losing the analytical ability of the audio system is like losing the soul, and the sound will be confused. The timbre of music is also very important, but we may not have the professional level of a mixer, so we have to restore the timbre that the record producer wants to bring to us.

Under normal circumstances, the audio system changes the timbre by changing the frequency response characteristics. In modern audio equipment, except for speakers, the audio range of their frequency response characteristics is basically a straight line from beginning to end. Although, the frequency response characteristics of the current speakers still fail to reach the ideal level as a straight line. However, an established speaker does not change its frequency response characteristics due to the replacement of components in the audio system. Therefore, if the parts are replaced and the timbre is changed, it must be that various distortion changes are specifically reflected in the timbre. The various distortions of the audio system, they change the timbre and at the same time inevitably change the ESS. If we use our ears to identify the ESS, it will be relatively easy to obtain an accurate judgment. As long as it is the closest to the real sound in terms of ESS, the timbre of this sound is the one that this audio system can obtain and is the closest that the record producer wants to bring us.

Emotional State of the Sound (ESS)
We take the ESS as the judgment object, and this setting is easy. The human ability to recognize sounds is gifted. And we use contrast to identify sounds very accurately. People are used to the sound state of real sounds in daily life. Every time we discern a sound, we naturally use the sound state of the real sound in our impression as a reference object, and generate an expectation of the sound pressure change trend of the sound we hear, compare it with the reference object, and judge according to their degree of conformity. The authenticity of this voice. Every person with normal hearing has this ability to judge.

Here, we remind again. Use a CD player to set up the audio system, we need to make sure that the quality of the CD will not affect the sound state. On the market, some CD discs have structural quality problems. This leads to no matter what type of music, the sound always has some rhythmic jump. There are some uncertain factors in the voice state of this voice.

Music details
Anything other than the subject, we can all regard it as a proper part of the details. Musical details exist at any moment and contain various frequency components. Where and how to find music details, everyone has different ways. The results produced by various methods may also differ in accuracy. Therefore, among the many differences in sound quality of audio systems, in addition to the quality of the equipment, there are also some human factors.

People have not been in the recording scene, it is difficult to determine which parts of the sound are the original details of the music. Therefore, we searched for the details of music in the correct way we thought, and then we had the various results they agree with. We can say that these results are correct. Because these settings are based on the different conditions of each system, and in terms of overall coordination, the audio system is most effectively played out, and a sound effect that the listener thinks is the best. In fact, the audio system setting is just like this.

The above is an effective way of setting up the existing configuration. This method is still valid for the SFR setting. However, we still need to have a widely suitable evaluation standard in terms of the functional quality of the audio system and the accuracy of the sound field. Especially for audio system settings that seek to further improve the functional quality, we still need to have a reliable and correct reference for comparison. Therefore, it is necessary for us to seek a comparative criterion with scientific justification with the help of some physical phenomena.

Environmental sound
Music is recorded in a closed space, where there inevitable be some environmental sounds composed of reflected sounds. From this environmental sound, we can find the original details of the music and distinguish its accuracy. Reflected sound has such a characteristic that after the sound reaches an obstacle, the obstacle will absorb part of its energy, and the remaining energy will be reflected by the obstacle. In the repeated reflections, the sound pressure of the sound will gradually decrease. We can use this physical inevitable phenomenon to identify the audio system's ability to restore the original musical details. If the audio system can distinguish the weaker and smaller reflected sound (environmental sound), it has a higher analytical ability, that is, a better electro-acoustic conversion linearity.

We need to rely on some live recorded music to distinguish environmental sounds. In music with strong sound pressure, the environmental sound can be reflected indirectly from the stage of the music and its sense of depth. At this time, the length of the room's reverberation time will have an impact on the original environmental sound. Ambient sound with weak sound pressure can be found in the musical passages played by a single instrument. For example, 1) In music, each note always has environmental sound serve as a foil to transition to the next note, thereby bringing out a melodious sound . Whether there is a sense of pause between the notes, this can be used to identify the presence or absence of the original environmental sound. The accuracy of the original environmental sound can be reflected by the melodious degree of music. 2) After the last note of the music is terminated, the environmental sound still exists, and its sound pressure will gradually weaken until the end of the music recording, and disappear suddenly to show the complete end of a sound.

Usually, only with a quiet music background can the environment sound be accurately presented. Therefore, we can also identify the audio system's ability to restore original music details from the quietness of the music background. This is a relatively easy and effective way of identification. (The background noise of music is explained later)

After understanding the above content, we can do the work of setting. First, we identify the true degree of the sound from the sound state, and use the environment sound to identify the audio system's ability to restore the original music details. and then adjust the reverberation time of the audio room and the position of the speakers to calibrate the sound field. This arrangement can reduce the difficulty of setting.

Sound comparison
Some sounds that have been personally experienced and are still in memory can be used as reference objects for comparison. Compare the speed, strength, continuity, and musical details of the sound to identify the real degree of sound before and after the configuration changes. If we use headphones to listen to the sound of a CD player and compare the difference between it and the sound of the speaker, we can evaluate the overall improvement range of the audio system except for the player. Here is one thing we need to pay attention to. When the frequency response characteristics of headphones and speakers are different, there will be some differences in the timbre of the sound, which is normal. Compared with headphones, the sound in the room always has a relatively long reverberation time. Therefore, in a audio system that has been set up, the fullness of the speaker sound is always stronger than that of the earphone, and the earphone sound will have higher transparency. This is some timbre difference that must exist between them, but it will not change the sound state as a result.

Play the CD (DG 437 806-2) from the 4th, 3rd, 1, 2, 5 and 6th chapters in this order. This order is arranged according to the dynamics of the music and the speed of the melody. It starts from a lower dynamic and progressively evaluates the electro-acoustic conversion linearity of the audio system in various dynamic situations. The linearity of the audio system, the naturalness of the sound, in the end, is the true degree of the sound. The sound recognition work from here is to use ears to do a process of "truth" recognition.

For most high-end audio systems, after replacing the WRT cable, they can hear a more realistic instrument sound after playing the 4th music, and even feel the harp strings vibrate next to the ears. Any kind of distortion of audio equipment is always manifested as linear distortion in the end. The magnitude of this distortion will vary with the sound pressure. For some power amplifiers with Dynamic Nonlinear Expansion distortion, you can understand the extent of the distortion from the changes in the true degree of the sound under different sound pressures by changing the volume. In the case of the same volume, from the 4th, 3rd, 1, 2, 5, 6 playback sequence, we can also know to which sound pressure area the linearity of the electroacoustic conversion can be maintained.

When playing the 4th and 3rd pieces of music, the sound system can accurately express the type of instrument. Then, playing Tsai Qin’s old songs (Warner's 1985 version) we can hear Tsai Qin’s voice on the entire CD with varying degrees Slight vibration. When we can feel the harp strings vibrating next to our ears and play the second paragraph of Tsai Qin’s old song (Cold rain Song), the music will be able to bring out the artistic conception in the lyrics, and make people feel that there is also A little bit of chill like rain.

Don't forget to do this sound identification with your family. A listener who knows less about audio may have a more objective judgment on the authenticity of the sound.

In modern audio equipment, the frequency range below 20KHz of their frequency response characteristic curve has basically reached the ideal level close to a straight line (except for speakers). Therefore, the essence of this sound field restoration setting is to use a sound discrimination method to correct the linearity of the audio system and the real-time nature of the audio spectrum. For the correctness of this setting result, we can also rely on physical principles and use the method of measuring physical quantities to make a basic identification.

Real-time spectrum
The sound of the music performance site consists of two parts. One part is the direct sound of the musical instrument. The other part is some reflected sound. In the scene, the two parts of sound are superimposed together in the way of acoustic interference, and combined into a mutually modulated sound pressure. For music recording, this modulated sound pressure is converted into electrical signals. And each instantaneous value of the voltage is also arranged in the corresponding position on the time axis in sequence. During the audio system playing music, if the music electrical signal can be processed in real time, each instantaneous value arranged on the time axis can drive the speaker to disturb the air in an exact timing, and produce an alternating pressure equivalent to the music recording site. At this time, the direct sound of the musical instrument and the environmental sound will be accurately demodulated and maintain the original ratio. Music playback can achieve an effect of reproducing the live sound of music performance. (For the real-time of the frequency spectrum, please refer to the particularity of the audio system).

The audio system processes music electric signal. If the delay time of each frequency component in the signal is inconsistent, the transmission time of some frequency components will have some differences compared with others. The arrangement position of these frequency components on the time axis will be wrong and change the instantaneous magnitude of the voltage at some positions on the time axis. This is just an error in the arrangement position and an error in the instantaneous value. In a period of time, the total energy of the sound has not changed. This is a kind of micro dynamic distortion. As a result, people can hear the sound with increased loudness. on the other hand,, the original proportions of the instantaneous magnitude of the direct sound and environmental sound during this period will not be accurately demodulated due to these errors. At this moment, the two sounds will be mixed to varying degrees. This further makes people feel that the sound has a higher loudness. In the case of the same power output, compared with the real-time spectrum, a sound whose real-time spectrum has been destroyed will make people feel louder. We only need to use a power meter or AC voltmeter to compare the output power of the amplifier, and we can do a basic real-time discrimination of the sound spectrum.

Listen to the two sounds before and after the configuration change. Control the volume to change the output power of the amplifier, so that the sound can be felt that both have the same loudness. It is the sound with more accurate real-time frequency spectrum that requires relatively large power. The credibility of this comparison depends on the relatively large difference in the degree of truth between the two voices. To use this method for testing, you need to pay attention to such a situation. When we replace a device with a stronger micro-dynamic filter, similar results may occur. The difference between the two is that after the music signal is filtered through strong micro-dynamics, the original music details will be severely lost.

Background noise
In addition, we can also use people's tolerance for noise to distinguish the real-time degree of the sound spectrum. When a certain frequency component of the music electrical signal has an error in the position of the time axis, the instantaneous value of the voltage at this moment contains an error component. Similarly, various distortions of the audio system will change the waveform of the music electrical signal, that is, change the instantaneous magnitude of the voltage at certain timing positions.

The part of the value that should not be present at a certain moment is the value of the noise to be generated. Audio enthusiasts call the background noise of music is generated from this part of the value. A sound that lacks realism must contain the amount of noise produced by time misalignment (or waveform distortion). A more realistic sound has a higher ratio of its true component compared to the noise component, and it can also make people bear higher sound pressure. Compare the two sounds before and after this change. The sound that can withstand greater sound pressure is the sound whose instantaneous value of sound pressure is more accurate in time sequence, that is, the sound with more accurate real-time sound spectrum and better linearity of the audio system.

Audio room layout
If the audio system achieves SFR sound quality, the layout of the sound room will be relatively easier. The recording of a music performance site already contains environmental sounds. If the audio system can accurately restore all sound information in the recording scene, there is no need to rely on rebuilding the environmental sound in the audio room. Of course, we can still refer to the environment of the concert hall to create a listening space with a longer reverberation time to suit personal sound effect preferences.

In a music concert that includes live audiences, the refraction of sound only appears above the concert hall, and all sounds close to the ground space will be completely absorbed by the live audience. To produce such an effect, it is necessary to relax soft carpets on the floor, and place some sound-absorbing materials on the 1 to 2 feet of the foot of the wall.

SFR system settings no longer rely on the reconstruction of environment sound (reflection sound) in the audio room, which may require reducing the reverberation time of the audio room. All items in the room are sound-absorbing materials that can play this role. Therefore, there is no need to deliberately empty the furniture in the room. When the speaker is closer to the wall behind it, and you also want a more profound sense of stage. Then, covering the entire wall behind the speaker with a carpet will help create this effect.

If the recovery of environmental sound can reach the ideal state, we can install the sound-absorbing material in the following way. Lay carpets on the ground and underlay the carpets; lay carpets or curtains on the walls behind the speakers; use the sound-absorbing materials on the left and right walls to adjust the symmetry of the sound and the reverberation time.

However, in actual use, the ability of each audio system to restore environment sound may vary. There will also be some differences in this aspect between various audio sources. This requires us to retain a certain degree of reverberation to adapt to the specific situation. If you are using CDs as audio sources, some CDs with DDD codes can record on-site information more accurately. At this moment, we shorten the reverberation time of the audio room, which will be more conducive to accurately restore the original environmental sound. If you use a movable curtain to adjust the reverberation time of the audio room, it will be easier to adapt to the needs of different sound sources and the sound effect changes after equipment replacement.

About listening position. Some information on the layout of the audio room on the market usually suggests that we arrange the listening position in a space some distance away from the back wall. This helps to use the acoustic interference effect to reduce the resonance sound at the listening position. When playing at high sound pressure, the dynamic nonlinear expansion distortion of the power amplifier will cause stronger acoustic resonance in the audio room. If this is the case, the arrangement of the listening position needs to take into account the influence of resonance. When the room eliminates the resonance sound and the listening position is arranged near the back wall, the sound will have higher clarity. There is a simpler way to understand the strength of resonance in the audio room. We can stand at the corner of the back wall of the speaker to listen to the sound of the sound and compare it with other positions. If the timbre of the two sounds is more different, the resonance of the room will be stronger.

Setting is actually an inclusive process. Its essence is to take its strengths and resolve various disadvantages under the existing equipment conditions, integrate the audio system into the environment and reach cooperation with it. The difference between setup or installation is whether you have gone through this process. The following speaker placement is an important part of this process. The amount of work required will depend on the audio system's ability to restore the original environmental sound.

Speaker placement
The room no longer needs to recreate the environment sound, and the speaker placement will be relatively easier. We can use the physical characteristics of sound to place the speakers to repair the lack of frequency response characteristics.

  1. Every sound reflecting surface in the room can cause a peak and a valley in the frequency response characteristic curve of the speaker. Control the angle of the speaker relative to the reflecting surface, you can adjust the height and width of the peaks and valleys (Q value adjustment).
  2. The frequency of peaks and valleys can be adjusted by controlling the distance between the speaker and the reflecting surface. If you control the position of the speaker to avoid the same distance between the speaker and each reflective surface, you can avoid large peaks and valleys, and there are more low-amplitude peaks and valleys to repair more points on the curve.
  3. When two speakers are placed in the same space, their frequency response characteristic curve will produce a peak and a valley. The peak and valley frequencies are controlled by the distance between the speakers. The Q value of the peak and valley points can be adjusted by adjusting the relative angle of the two speakers and increasing or decreasing the sound-absorbing materials in the audio room.

The above effects produced by acoustic interference are the most sensitive to low-frequency sounds without directivity. As the frequency increases, the sound will produce multiple reflected waves of different phases on the same reflecting surface, and the resulting multi-phase acoustic interference will gradually weaken this effect. Using the above points, we can repair the overall frequency response characteristics of the speakers after they are placed in the room.

There are some computer software for speaker placement on the market. These software can help us to adjust the speaker position. However, in the audio system, speakers are the most personalized equipment, and computer software has some limitations. They cannot deal with each case most effectively according to the individual characteristics of each speaker. Therefore, in the process of placing this speaker, you still need to do some careful adjustment, especially the phase adjustment.

The position adjustment of the speaker can also correct its uneven phase characteristics. For some speakers with poor phase characteristics, we need to prioritize this phase correction work*. Phase adjustment is a very careful work. As long as we change a small speaker angle, the sound can also produce a considerable change in sound state. To obtain accurate sound field restoration settings, this adjustment may require two or more people to work together.

* Here we remind again: the frequency response characteristic affects the timbre of the sound, and the phase characteristic affects the emotional state of the sound. The change of timbre is only reflected in the same type of musical instrument with different personalities, and the change of phase will be a change of the type of musical instrument. Therefore, the phase characteristic is very important for the sound system to improve the functional quality.

For any listening space with the same structure, or for each pair of speakers of the same model, there are always some relative differences between them. It is difficult to have a standard formula to help us make this position adjustment. Therefore, to get the most accurate settings, you still need to be patient to do this job well. The difficulty of adjusting the position of the speaker will be reduced as the audio system's ability to restore the original environment sound increases.

The speaker position has been carefully adjusted sound system, in a large area of the room can still maintain an effect that makes people feel like being in the performance scene, even outside the music room (to achieve this effect, we can use this The sound room is called a music room).

Large speakers are conducive to obtaining a fuller sound in a large listening space, and a relatively more realistic live sound effect to serve a larger listening area. However, small speakers can still obtain real live music performances in a small space. We used a pair of Infinity Reference 4 speakers, placed in a 12 x 18 x 8 ft listening space, and achieved the same music room effect as above.

Usually, in order to reduce the mutual interference between equipments, we will arrange the power board placement position of the power plug of each equipment as follows: the power amplifier is inserted in the front, and then the preamplifier and signal source are next to each other in sequence; if used For a split CD player, the CD transport needs to be inserted after the D/AC. However, this arrangement is not unchangeable. We can still change the sound state by changing their placement order and distance. This is the use of various components to interfere with each other to adjust the sound state. Although, this operation did not improve the quality of the equipment itself. But it improves sound quality in terms of audio system and environmental integration. So this is still an integral part of the audio system setup. It should be noted that this operation should be arranged in the final stage of the entire setup, so as not to affect the identification of the functional quality of the equipment and the accuracy of other aspects of the setup.

Audio enthusiasts know that the frequency response characteristics of the human ear will vary from person to person. Therefore, it is easy for us to question our voice judgment ability, thereby reducing our confidence in the identification results. This is reflected in the fact that our sound system settings always require more people to identify the sound before we can make a determination about the accuracy of the result.

The difference in the frequency response characteristics of each person's ears will have some influence on the timbre. But it only reflects the same voice, and everyone has some differences in perception. For sound comparison, because it is two measurements on the same sensory organ, this difference will not affect the accuracy of sound discrimination. Unless in this period of time between the two compared sounds, the ear frequency response characteristics have changed. More people come to discern a sound, which will bring a wider acceptance in terms of perception in terms of the timbre that affects the personality of the musical instrument. In terms of reflecting the sound state of musical instruments, if we use the trueness of the sound as the evaluation criterion, there will not be much difference between the discrimination results of each person.

During the process of distinguishing sounds, the individual's mood will affect the sensitivity of distinguishing sound quality. However, this impact is positive. People have a sense of frustration, their mood will be low, and the sensitivity of their sense organs will also decrease. On the contrary, when people have a sense of success, their emotions are high, and the sensitivity of the sensory organs increases. This kind of emotional factor widens the gap between good and bad perception. This is a positive feedback effect, which helps to improve the accuracy of the identification results.

Confidence and knowledge are prerequisites for success. Believe your ears and your abilities, you will get a more practical and highly accurate music playback system.

Created by Chen

Last revision date: Aug-2019

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