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- Subject: FAQ: rec.audio.* Systems 2/99 (part 2 of 13)
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- Organization: Texas Instruments Corp.
- Summary: Answers to common questions about audio equipment, selecting,
- buying, set-up, tuning, use, repair, developments, and philosophy.
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-
- 9.0 High Fidelity Systems
- People frequently use the term "Stereo" to refer to a sound
- reproduction system. To be more accurate, we will use the term
- High Fidelity System to refer to a pile of equipment including
- at least one source, at least one amplifier, and at least one
- speaker. Common sources are turntables, CD players, tape
- players, tuners, and receivers.
-
- 9.1 What is a receiver?
- A receiver is a tuner, power amplifier, and preamp combined. A
- common receiver has inputs for a turntable, a CD player, a tape
- deck, and perhaps one or two other sources. It probably also
- has selector switch(s), tone controls, and a volume control. A
- receiver may have outputs for two speakers, or for more. Some
- receivers do | not have phono preamps, a trend that may become
- more common as vinyl loses popularity. Many receivers contain
- surround sound processors.
-
- 9.2 What is a tuner?
- A tuner is a radio reception device which can not drive
- speakers. Sometimes, the radio in a tuner is higher quality
- than the radio in a receiver. A tuner may or may not receive
- the AM broadcast band, but 99.999% will receive the FM broadcast
- band. Some also receive short wave bands, frequencies used
- for long-distance rather than for local commercial broadcasts.
-
- 9.3 How should I go about selecting a system?
- If you're looking to buy something, the first step is to figure
- out what you can spend. If you're looking for a whole system,
- this gets tricky, because you have to allocate amounts for the
- different components. The most popular current rule-of-thumb
- for a single source system (speakers, amp, 1 something-player)
- is to divide the money about equally among the three parts. If
- you want several players, you'll have to decide whether they are
- all equally important, and so deserve the same amount of money;
- or whether some are less important, in which case you can spend
- less on them and put the savings elsewhere.
-
- This rule isn't hard-and-fast. It's just meant as a starting
- point so you don't have to listen to every possible combination
- of equipment. If you are building around a CD player, you might
- spend a bit less on the player and a bit more on the speakers.
- If you are buying turntable (or something else which plays by
- physical contact) on the other hand, it might be good idea to
- put a bit extra into the player. The reason for this is that if
- you skimp on the turntable, then when you come to buy a better
- one you may find that your records have been worn out by the
- cheap player. If you skimp on the speakers, on the other hand,
- then when you can afford better speakers the music will still be
- there on your records.
-
- Another perspective says that you should spend the most you
- can on your source, as the sound can never be better than
- what you get off of the record/CD.
-
- See also 12.1, 12.2, and 10.1 for information on what to listen
- to and what to listen for when evaluating speakers, turntables,
- CD players, tape recorders, and systems in general.
-
- 9.4 How can I improve the sound of my stereo?
- The cheapest improvement you can make, and perhaps the most
- effective, is to position your speakers carefully and correctly.
- See 13.1, below. This will improve the frequency response
- flatness, making it easier to hear every instrument and voice.
- Setting speaker position correctly can also improve the
- three-dimensional recreation of a stereo image.
-
- 9.5 Do I want a combo system or separate components?
- Combo systems used to be cheap jokes; that's not always true
- now. Some sound very nice; there are even some made by
- "audiophile" companies, and they sound even nicer. They've got
- lots of advantages. They take up less space. The controls tend
- to be well-integrated, especially if they are remote-controlled.
- Therefore, they are easy to operate; this can be a major plus if
- some of the people who'll use it are afraid of, or not very good
- at, technology. Also easy to set up, and don't leave millions
- of wires dangling all over everywhere.
-
- If you do go for a combo, get a brand name; either an audiophile
- company, or a good "consumer electronics" company. Brand-X
- combos are generally overpriced and unpleasant. If possible,
- buy it where you can listen to it first, such as a "real" hi-fi
- shop. Mid-range hi-fi shops sell combos, as a way of
- introducing beginners to quality sound.
-
- In most good combos, the speakers are the weak link. If you do
- go for a combo, you can almost always improve the sound
- drastically by buying a set of better speakers. Better speakers
- start in the $100-$200 price range. Some of the best combos
- come without speakers, forcing you to do this. A good combo
- with replacement speakers will give you very pleasant music.
-
- Sounds good, you say, so why do people bother with components?
- Well, you can get better sound with a component system -- but
- usually at the expense of convenience and size. A good
- component system will normally require a mixture of boxes from
- different makers to get the best results, so you've got to spend
- more time listening to things. However, if you listen to your
- music seriously, then the performance of a component system is
- the reward for that extra work.
-
- Components are harder to set up and operate. However, as noted,
- you can get better sound. You also get more flexibility. If,
- for example, you decide you want a better CD player, you just
- replace the CD player. With a combo system, you've got to
- replace the whole system. If your component tape deck breaks,
- you can remove it from the system and take it in for repair or
- replacement. With a combo, the whole system has to go in for
- repair or be replaced.
-
- When you want to add some new recording medium to your system
- (laserdisc, VCR, DAT, DCC, MD, ...), if you've got components
- you just go buy the appropriate box. Many combo systems do not
- have places (or many places) to attach extra bits, so again you
- could be looking at replacing the whole thing. With a component
- system, you can add a turntable; most modern combos can't cope
- with turntables any more. Do you have a record collection?
-
- If you're really not sure, components are the safer bet; if
- you're going to make a mistake, that's probably the better way
- to be wrong. But, if you're sure that a combo would be best
- for your needs, it can be a totally reasonable choice.
-
- Now, some people may be tempted by one-maker 'component sets',
- particularly the modern, miniature ones. They tend to be
- equivalent to combos. Most use non-standard connections, rather
- than the normal twin phono plug, so that it's likely you can't
- swap or add components anyway. Even where they use standard
- interconnects, they may rely on non-standard interconnections
- for control purposes. In a few cases, they also rely on sharing
- power, with a power supply in only one of the boxes and the rest
- taking low-voltage connections from that. And, no one maker
- makes the best everything. By default, assume that they will
- have the same disadvantages (and most of the same advantages) as
- combos. If it's important for it to work with "standard"
- components from other makers, be sure to ask before you buy.
-
- One-maker 'component sets' are also often of lower quality than
- true individual components. Component sets are designed for
- convenience and appearance, rather than sound quality.
-
- And, if you're in doubt, go for separate components.
-
- 9.6 How can I get better FM radio reception?
- A. Use a (better) antenna. (See 9.7 and 9.8 below)
- B. Use a (more) directional antenna. (See 9.7 and 9.8 below)
- C. Aim your directional antenna. Rhombics are ungainly to move,
- but Yagis and dipoles are small enough to point right at
- the station. With the dipole, to tune in a station to
- the East, run the antenna North-South. With a Yagi,
- point the individual elements North-South with the
- smallest element on the East end.
-
- 9.7 How good are these compact FM antennas?
- For receiving, small is ugly. The bigger the antenna (all else
- equal) the better. Of course, all else is never equal, but
- these fancy, expensive mini antennas tend to be awful. Some
- compensate for their small receiving structure with a small
- antenna signal amplifier. However, the quality of that
- amplifier is often no better than the quality of the amplifier
- in your tuner or receiver, so the antenna just gives you a
- stronger signal, complete with stronger noise.
-
- All of that said, some compact FM antennas can work better than
- a simple dipole in some situations. Some have an internal
- amplifier, which helps with weak signals if the input stage in
- your receiver is poor. Some are directional. Some aren't. If
- possible, be sure that whatever you buy can be returned for a
- refund if it doesn't work out well for you.
-
- 9.8 What makes the best FM radio antenna?
- Although there is no "best" antenna for everyone, one of the
- most directional is the "rhombic". Being very directional, this
- antenna can select one weak station out of many strong ones, or
- one group of stations originating from a general direction.
- In addition, very directional antennas are good at reducing
- multipath interference, a problem which is more severe in
- cities with tall buildings.
-
- This antenna is very long, and made up of four pieces of wire
- with feedline at one end for antenna connections and a resistor
- at the other for termination. Rhombics for FM broadcast band
- use are at least 15 feet (4.5 meters) long, but can be made
- fairly narrow, less than 3 feet (1 meter) wide. A more narrow
- antenna will be more directional. A longer antenna will give a
- stronger signal.
-
- Another very directional antenna is the "yagi", which looks just
- like a common TV antenna. You can even use a common TV antenna
- as a very good FM antenna. The FM and TV bands are very close
- together. It has the advantages of being cheap, directional,
- and easy to rotate.
-
- One of the simplest and easiest to make antennas is the folded
- dipole, made from 300 ohm twin lead. It is approx. 58" long.
- This antenna is surprisingly good for receiving signals in a
- moderately strong signal area. Folded dipoles come with many
- tuners and receivers as a standard accessory. They are also
- available for approximately $2 at audio and department stores.
-
- Whatever antenna you have, you can often get it to work better
- for specific stations by moving it. In the case of the folded
- dipole, sometimes it works better vertically, and other times it
- works best horizontally. Sometimes, you can get that one
- elusive station to come in perfectly if you bend the two ends of
- it at funny angles. Don't be afraid to experiment. One
- warning. As atmospheric conditions change, the best antenna
- placement may also change.
-
- An excellent reference book on antennas is printed by the
- American Radio Relay League (ARRL). It is called The ARRL
- Antenna Book. Currently in its 17th edition, it is a 736
- page large, illustrated paperback which includes a disk
- of MS-DOS software. It costs $30 plus s/h. It has fairly
- complete antenna theory, practical information such as
- charts, drawings, comparisons, and tips on construction
- and adjustment. ISBN 0-87259-473-4. The ARRL is founded
- and chartered as a non-profit organization to better
- amateur radio, and antennas are a vital part of amateur radio.
- American Radio Relay League
- 225 Main Street
- Newington CT 06111 USA
- 203-666-1541
-
- Also useful:
- Practical Antenna Handbook by Joseph J. Carr
- Tab Books #3270/McGraw Hill - ISBN 0-8306-3270-3
-
- 9.9 What about power line conditioners?
- Each home and each outlet has slightly different power line
- impedance and power line noise. Each amplifier is affected by
- power line impedance and power line noise differently. Power
- line conditioners try to reduce this line noise. Some also
- change the power line impedance in a way which is supposed to be
- better. We will leave it to your ears to decide if these
- devices help the sound of your system enough to justify their
- expense.
-
- 9.10 How can I reduce vibration sensitivity?
- Some complain that heavy foot falls will cause skipping or more
- subtle sonic problems with CD players or turntables. If you
- have these problems, there are a few different things which you
- can try to reduce the problem. One is to add weight to the rack
- which holds the equipment. Heavier things move slower. If you
- can get the motion slow enough, it won't cause sonic or tracking
- problems.
-
- Another solution is to add rubber or elastomer (Sorbothane)
- cushions under the CD player or turntable. This might make it
- better, but might also make it worse. Experiment.
-
- A third solution is to increase the coupling between the rack
- and the floor using spikes, which concentrate the weight on
- a very small area. Another way to increase the coupling between
- the rack and the floor is to use a plastic adhesive like HoldIt,
- sold under the UHU trade name in office supply stores.
-
- 9.11 What equipment can I buy that is 100% made in the USA?
- There are many lines of equipment that are carefully hand
- crafted in the USA. Unfortunately, these systems are usually
- the high-end ones. Some US companies also make gear in the
- far east. When in doubt, ask. Some US audio manufacturers are:
- Adcom (some made in Japan) http://www.adcom.com
- Audio by Van Alstine
- Audio Research http://www.audioresearch.com
- B & K http://www.bkcomp.com
- California Audio Labs (CAL) http://www.calaudio.com/
- Carver (some made in Japan)
- Jeff Rowland http://www.jeffrowland.com
- Krell http://www.pcnet.com/~krell
- Mark Levinson http://www.madrigal.com/MLHP5.htm
- McCormack
- McIntosh http://www.mcintoshlabs.com
- Proceed http://http://www.madrigal.com/PROHP2.htm
- PS Audio http://www.psaudio.com
- Spectral http://www.spectralinc.com
- Sumo (Power amps, preamps, CD transports, D/As)
- Wadia http://www.wadia.com/index.html
-
- 9.11.1 Any information on equipment made in other countries?
- Thanks to Stephane Tsacas, we know:
-
- Australia:
- Krix Loudspeakers http://www.krix.com.au
- Metaxas http://www.metaxas.com
-
- Canada:
- | Bryston http://www.bryston.ca
- Coincident http://www.coincidentspeaker.com
- Energy Speakers http://www.energy-speakers.com
- Newform http://www.barint.on.ca/newform
- Paradigm http://www.paradigm.ca
- Psb Speakers http://www.psbspeakers.com
- Sonic Frontiers http://www.sonicfrontiers.com
- Waveform http://www.waveform.ca
-
- Czech Republic:
- KR Enterprise http://www.kr-enterprise.com
-
- Denmark:
- Bang & Olufsen http://www.bang-olufsen.com
- Bow Technologies http://www.bowtechnologies.com
- Bruel & Kjaer http://www.bkhome.com
- SEK Acoustics http://www.adpointer.net/sekacoustics
-
- France:
- Audax http://www.audax.com
- Audio Aero http://www.audioaero.com
- Audioreference http://www.audioreference.com
- Cabasse http://www.cabasse.com
- Confluence http://www.a-t.fr/confluence
- J-M Reynaud http://www.charente-fr.com/jm-reynaud
- Kora http://www.kora.net/index.html
- JM Lab http://www.focal.tm.fr
- Triangle http://www.triangle-fr.com
- Verdier
- YBA http://www.phlox-electronique.fr
-
- Germany:
- Lehmann audio http://www.lehmannaudio.de
- Steinmusic http://www.steinmusic.de
-
- Italy:
- Audio Analog http://www.hi-fi-forum.com/audio_analogue.htm
- Pathos http://www.hi-fi-forum.com/pathos.htm
-
- Korea:
- Pulsus http://www.pulsustech.com
-
- Netherlands:
- Final http://www.hi-fi-forum.com/final.htm
- Philips http://www.philips.com
-
- New Zealand:
- Perreaux http://www.perreaux.com
- Plinius http://www.pliniusaudio.com
-
- Norvegia/Norway:
- Electrocompaniet http://www.electrocompaniet.no
- Tandberg http://home.sol.no/~johandor
-
- Switzerland:
- Nagra http://www.nagra.com
- Goldmund http://www.goldmund.com
- Revox http://www.revox.ch
- Lenco
- AMT
-
- UK:
- Audio Note http://www.audionote.co.uk
- Cambridge Audio http://www.cambridgeaudio.com
- Newtonia http://www.newtonia1.freeserve.co.uk
- Quad http://www.quad-hifi.co.uk
-
- 9.12 Should I buy "xxx"? Which is better: "yyy" or "zzz"?
- We can provide facts and opinions (and you get to decide which
- is which :-), but we can't recommend if, or which way, you
- should jump, because we don't know what your priorities are.
- (That won't stop us from trying, though!) For example, if you
- are considering a used item at a low price vs. a new one at a
- higher price, one of us might say "go for the new one because
- of the warranty", when another would say that you can fix it
- yourself if it breaks. They're both right.
-
- This also applies to speakers. One may have very good, flat
- bass, but only go so low, where the other may go lower, but
- have less flat frequency response. Which is better? Depends
- on the buyer. Good speakers are carefully designed to
- achieve a balance of performance that matches the priorities
- of the designer. Some designers put much of their budget into
- appearance. Some designers put their budget into very high
- efficiency. Others strive for the smallest box which can
- deliver an acceptable low frequency performance. Do you
- really want people on the network making that decision for you?
-
- 9.13 What is Surround Sound? Pro Logic?
- In an effort to make movie soundtracks more dramatic and
- engaging, Dolby Labs created a signal encoding which encodes
- more than just two channels of audio onto the stereo signal.
- Many popular receivers and home-theater systems include the
- required circuitry to decode these signals. These components
- are referred to as Pro Logic, Dolby Pro Logic, or Surround
- Sound components. Very few audio recordings contain this
- encoding, but it is very common with movie soundtracks and
- some network TV programs.
-
- Best Surround Sound reproduction requires five separate
- speaker systems, but some improvement is claimed from a
- surround sound receiver and three speakers over two speakers.
- In its best implementation, surround sound will give a fuller
- sense of being in the middle of the action. The quality of the
- image is a function of the recording, the broadcast quality,
- and the choice of reproduction components.
-
- 9.14 What do they mean when they say "It sounds warm?"
- There are many subjective terms used to describe slight
- differences in frequency response, distortion, noise, etc.
- Thanks to Bruce Bartlett and Pro Audio Review, we present this
- Sound Quality Glossary. This glossary puts a meaning behind
- many different, common terms. There is no guaranty that people
- mean the same thing when they use these terms. However, these
- definitions give insight into why a system sounds the way it
- does and may also help bridge the communications gap.
-
- Airy: Spacious. Open. Instruments sound like they are
- surrounded by a large reflective space full of air. Good
- reproduction of high-frequency reflections. High-frequency
- response extends to 15 or 20 kHz.
-
- Bassy: Emphasized low frequencies below about 200 Hz.
-
- Blanketed: Weak highs, as if a blanket were put over the
- speakers.
-
- Bloated: Excessive mid-bass around 250 Hz. Poorly damped low
- frequencies, low-frequency resonances. See tubby.
-
- Blurred: Poor transient response. Vague stereo imaging, not
- focused.
-
- Boomy: Excessive bass around 125 Hz. Poorly damped low
- frequencies or low-frequency resonances.
-
- Boxy: Having resonances as if the music were enclosed in a
- box. Sometimes an emphasis around 250 to 500 Hz.
-
- Breathy: Audible breath sounds in woodwinds and reeds such as
- flute or sax. Good response in the upper-mids or highs.
-
- Bright: High-frequency emphasis. Harmonics are strong relative
- to fundamentals.
-
- Chesty: The vocalist sounds like their chest is too big. A bump
- in the low-frequency response around 125 to 250 Hz.
-
- Clear: See Transparent.
-
- Colored: Having timbres that are not true to life. Non-flat
- response, peaks or dips.
-
- Crisp: Extended high-frequency response, especially with
- cymbals.
-
- Dark: Opposite of bright. Weak high frequencies.
-
- Delicate: High frequencies extending to 15 or 20 kHz without
- peaks.
-
- Depth: A sense of distance (near to far) of different
- instruments.
-
- Detailed: Easy to hear tiny details in the music; articulate.
- Adequate high-frequency response, sharp transient response.
-
- Dull: See dark.
-
- Edgy: Too much high frequencies. Trebly. Harmonics are too
- strong relative to the fundamentals. Distorted, having unwanted
- harmonics that add an edge or raspiness.
-
- Fat: See Full and Warm. Or, spatially diffuse - a sound is
- panned to one channel, delayed, and then the delayed sound is
- panned to the other channel. Or, slightly distorted with analog
- tape distortion or tube distortion.
-
- Full: Strong fundamentals relative to harmonics. Good
- low-frequency response, not necessarily extended, but with
- adequate level around 100 to 300 Hz. Male voices are full
- around 125 Hz; female voices and violins are full around 250
- Hz; sax is full around 250 to 400 Hz. Opposite of thin.
-
- Gentle: Opposite of edgy. The harmonics - highs and upper mids
- - are not exaggerated, or may even be weak.
-
- Grainy: The music sounds like it is segmented into little
- grains, rather than flowing in one continuous piece. Not liquid
- or fluid. Suffering from harmonic or I.M. distortion. Some
- early A/D converters sounded grainy, as do current ones of
- inferior design. Powdery is finer than grainy.
-
- Grungy: Lots of harmonic or I.M. distortion.
-
- Hard: Too much upper midrange, usually around 3 kHz. Or, good
- transient response, as if the sound is hitting you hard.
-
- Harsh: Too much upper midrange. Peaks in the frequency response
- between 2 and 6 kHz. Or, excessive phase shift in a digital
- recorder's lowpass filter.
-
- Honky: Like cupping your hands around your mouth. A bump in the
- response around 500 to 700 Hz.
-
- Mellow: Reduced high frequencies, not edgy.
-
- Muddy: Not clear. Weak harmonics, smeared time response, I.M.
- distortion.
-
- Muffled: Sounds like it is covered with a blanket. Weak highs
- or weak upper mids.
-
- Nasal: Honky, a bump in the response around 600 Hz.
-
- Piercing: Strident, hard on the ears, screechy. Having sharp,
- narrow peaks in the response around 3 to 10 kHz.
-
- Presence: A sense that the instrument in present in the
- listening room. Synonyms are edge, punch, detail, closeness and
- clarity. Adequate or emphasized response around 5 kHz for most
- instruments, or around 2 to 5 kHz for kick drum and bass.
-
- Puffy: A bump in the response around 500 Hz.
-
- Punchy: Good reproduction of dynamics. Good transient response,
- with strong impact. Sometimes a bump around 5 kHz or 200 Hz.
-
- Rich: See Full. Also, having euphonic distortion made of
- even-order harmonics.
-
- Round: High-frequency rolloff or dip. Not edgy.
-
- Sibilant. "Essy" Exaggerated "s" and "sh" sounds in singing,
- caused by a rise in the response around 6 to 10 kHz.
-
- Sizzly: See Sibilant. Also, too much highs on cymbals.
-
- Smeared: Lacking detail. Poor transient response, too much
- leakage between microphones. Poorly focused images.
-
- Smooth: Easy on the ears, not harsh. Flat frequency response,
- especially in the midrange. Lack of peaks and dips in the
- response.
-
- Spacious: Conveying a sense of space, ambiance, or room around
- the instruments. Stereo reverb. Early reflections.
-
- Steely: Emphasized upper mids around 3 to 6 kHz. Peaky, nonflat
- high-frequency response. See Harsh, Edgy.
-
- Strident: See Harsh, Edgy.
-
- Sweet: Not strident or piercing. Delicate. Flat high-frequency
- response, low distortion. Lack of peaks in the response. Highs
- are extended to 15 or 20 kHz, but they are not bumped up. Often
- used when referring to cymbals, percussion, strings, and
- sibilant sounds.
-
- Thin: Fundamentals are weak relative to harmonics.
-
- Tight: Good low-frequency transient response and detail.
-
- Tinny, Telephone-like: Narrowband, weak lows, peaky mids. The
- music sounds like it is coming through a telephone or tin can.
-
- Transparent: Easy to hear into the music, detailed, clear, not
- muddy. Wide flat frequency response, sharp time response, very
- low distortion and noise.
-
- Tubby: Having low-frequency resonances as if you're singing in
- a bathtub. See bloated.
-
- Veiled: Like a silk veil is over the speakers. Slight noise or
- distortion or slightly weak high frequencies. Not transparent.
-
- Warm: Good bass, adequate low frequencies, adequate
- fundamentals relative to harmonics. Not thin. Also excessive
- bass or midbass. Also, pleasantly spacious, with adequate
- reverberation at low frequencies. Also see Rich, Round. Warm
- highs means sweet highs.
-
- Weighty: Good low-frequency response below about 50 Hz.
- Suggesting an object of great weight or power, like a diesel
- locomotive.
-
- COPYRIGHT NOTICE
- The information contained here is collectively copyrighted by the
- authors. The right to reproduce this is hereby given, provided it is
- copied intact, with the text of sections 1 through 8, inclusive.
- However, the authors explicitly prohibit selling this document, any
- of its parts, or any document which contains parts of this document.
-
- --
- Bob Neidorff; Texas Instruments | Internet: neidorff@ti.com
- 50 Phillippe Cote St | Voice : (US) 603-222-8541
- Manchester, NH 03101 USA
-
- Note: Texas Instruments has openings for Analog and Mixed
- Signal Design Engineers in Manchester, New Hampshire. If
- interested, please send resume in confidence to address above.
-