Testing audiophile claims and myths
Nov 22, 2018 at 11:48 AM Post #10,711 of 17,336
I do not have time to go into this ultrasonic debate to do it really justice.

However, do not forget : Information, lost in the first stage, can not be retrieved later on.

The musicians that had the *privilege* to become the recording artists with the introduction of digital ( late 70s, early 80s ) and have been the victims of the early digital, will be on these recordings NEVER heard as intended. Whatever the mumbo jumbo that recalculates the losses and addittions in those early digitall attempts, will never be able to replicate the real thing in full measure.

The same can be said regarding ANY digital recording - with the appropriate ever smaller deviations from the original microphone feed as the digital progressed troughout the history.

The fact that - as of today, to my knowledge - there are only two microphones specifically intended for music recording ( as opposed to stricly measurement mics, although these two applications can and do overlap ) that meet or exceed 100 kHz response, is largely responsible that we have extremely limited amount of actual musical recordings using these microphone and HR digital with the bandwidth flat to 100 kHz ( regardless if DSD or PCM/DXD ). It will take at least half a decade before any meaningful amount of recordings spanning more genres will actually become commercially available - then, and only then, will truly be possible to judge the effect od ultrasonics - not only by digital equipment artefacts of upsampling PCM material or digital transfers of analog tapes of old(er) origin.

Anyone can say whatever he/she likes/pleases; but ONE fact remains :

YOU ONLY GET ONE CHANCE TO RECORD A MUSICAL EVENT

And that one chance absolutely should be taken advantage of with the best possible means available; you can always bounce the recording down to MP3 32 kHz 96kbps - if required.

The other way around, upsampling MP3s to whatever higher will NOT produce nearly the same quality; best it can do, is to ameliorate the effect(s) of brickwall filtering.
You can choose any step in between the MP3 and - say - DSD1024; but the general principle remains.
 
Nov 22, 2018 at 1:56 PM Post #10,712 of 17,336
[1] You're right... if we accept the conclusions of that paper then the debate would be over.
[2] I didn't read the entire paper, but, ACCORDING TO THE SUMMARY THAT YOU POSTED, the paper says that "science has currently NOT resolved the challenge of achieving that feat with actual commercial recordings". It seems pretty obvious that they weren't suggesting that it would be impossible, or even that there were any theoretical reasons why it would be, but simply that it hadn't been successfully done yet with commercial recordings. (So, to be specific, they didn't say "it can't be done", or even "we don't think it can be done", but merely "we don't think anybody has done it yet". In fact, they didn't even suggest that it wouldn't be possible, but merely that "it was still a challenge".)
[2a] Just to be specific, if you read everything I've posted CAREFULLY, you'll see that I never said that anybody had done it successfully yet - but merely that it was POSSIBLE... and I still haven't seen anything to contradict that claim.
[3] And, yes, I noticed all sorts of things in that spectrum that were obviously correlated to the music.
[3a] Since they clearly aren't random noise, they must be either ultrasonic harmonics of the original signal, some sort of electronic distortion, or some result of the acoustics of the room.
[3b] (And, of course, if they're harmonics of the original isntrument, picked up by the recording equipment, then they would also be affected by the room acoustics.)

1. Do you have ANY counter (reliable) evidence that justifies not accepting it? If not, then how come the debate is not over?

2. If it has not been successfully done yet, that means no one has achieved this feat of analysis yet! And to be specific, they didn't say "it was still a challenge", they said that "the challenges due to the complexity and uncertainty of the sound scenes still remain to be resolved! Furthermore, you seem to have missed the rather large section where they detail "Future Directions" (highlight is mine) which may lead to a (future, not current) resolution of the challenges, you also seemed to have missed the part (in fact "parts" because it's mentioned more than once) where they state that detailed information would be required, such as the mixing process, microphone placement, etc. Information that does not exist for any current or past commercial recordings. So yes, they are CLEARLY saying that it is NOT possible currently, which is the opposite of your assertion that "I will also point out that I did not say anything was "trivially easy"...... But only that it was "possible with current technology"". And, this analysis feat is currently impossible even in the audible range, which is where the acoustic information actually resides, so it's self-evident that it's impossible in the ultrasonic range, where it does not!
2a. You did In effect state it would be "trivially easy", you stated that even "my cheap cell phone" would be "quite capable of doing it"! Just to be specific, here's some reminders, as you appear to have forgotten (despite already being reminded!) what you've actually posted:
"Izotope's latest restoration utility has the ability to .. not just add, but to REMOVE, reverb.... Apparently it is able to pick out the specific sounds of reverb, differentiate them from primary sounds,"
"There are also several new pieces of software that allow you to "match the acoustics of one track to another" - presumably by analyzing, and then collectively replicating, the "echoes" and "room noise"
"We're simply talking about a modernized version of "timing the echoes to see how big the cave is"... although much more detailed analysis is possible these days."
"I would use a high pass filter to separate the ultrasonic content from the "audible music". Then I would boost it a bit to make it easy to work with. Then I would fed it into a DSP engine running appropriate software to analyze it.
"By measuring the arrival times between the initial wavefront, and the first three or four echoes, I will now know the dimensions of my room. Actually, I'll have to do this same analysis with several sounds, and correlate the results. In 1950 this would have required a really expensive computer; nowadays the processor in my cheap cell phone is quite capable of doing it in a few seconds."

3. And have you noticed gravity?
3a. It is NOT clear they "aren't random noise", it would ONLY BE "clear" if you present some actual evidence instead of just repeating "it's clear"! According to the evidence presented we haven't yet gone beyond: Random noise whose amplitude modulates with the musical content! Although I'll agree with "electronic distortion" as I've witnessed it on numerous occasions.
3b. Firstly you haven't ascertained they are harmonics and secondly, there's no evidence for, but overwhelming evidence against, that reflections of those ultrasonic harmonics, even if present, would be unrecordable. So, where does the "of course" come from?

It's obvious that you cannot/will not answer ANY of the questions put to you or provide any evidence to support your claims, it's just repetition of the same unsupported claims, with the addition of (and I'll be unreasonably charitable about it) inadvertently misrepresenting/obfuscating what the paper actually stated and what you yourself have stated. I'll leave others to draw their own conclusions from these facts!!

G
 
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Nov 22, 2018 at 3:09 PM Post #10,713 of 17,336
The debate should be over

The debate is over. It has been for months. We've got a few people here who have camped out on this thread and crapped all over it because they don't like what controlled testing shows. They each have their own unique way of doing that, but the overriding theme is the same. They have an idea in their head and they refuse to let go of it, even if it's proven to be wrong. They'll just say, "We can't know for sure, so I'm going to keep an open mind." Their "open mind" is an intellectual brick wall with no door in it. (By the way, I'll excuse that and just not interact on that level with them if that is a result of some sort of mental challenge. I think we are seeing that here too.)

I had hopes for two of them... one said he was interested in conducting a blind test himself. I still hope he'll get off the pot and try it. He would learn a lot. I actually helped another one of them do a blind test. But it took no time at all before he slid right back to the same wiggly logic and refusal to present any evidence to back up what he said. The last straw was when he wanted me to jump through hoops to test his subjective impression. Why should I waste time doing that?! He understands how controlled tests work. He could have done that himself. But it almost certainly wouldn't back up his theory, so it's easier to pawn it off on someone else so he can blame another person for not doing the test correctly... the simple test that he could have done himself, but he didn't!

Some people are just here to keep repeating the same old half baked theories over and over. For me, that is the finisher. I give people chance after chance, but at some point, it's clear that it is a complete waste of time corresponding with them. I'm here to learn from other people. There are some people who offer nothing and I can't learn from them. I've gotten lots of interesting and useful stuff from you. Thanks.
 
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Nov 22, 2018 at 7:44 PM Post #10,714 of 17,336
I do not have time to go into this ultrasonic debate to do it really justice.

The same can be said regarding ANY digital recording - with the appropriate ever smaller deviations from the original microphone feed as the digital progressed troughout the history.

The same can be said for ANY analogue recording, but more so as what is lost or distorted is WITHIN the range of human hearing. So should we all be in dark despair with all those recordings done in the 1950s/60s when microphones, tape and tape recorder technologies were far less advanced than today? Then there is the imperfect process of converting the taped music to vinyl through many transducers, RIAA equalisation which modern technology cannot really address.

I think perhaps, you just are not into very high fidelity of digital processing and prefer the distortions that are inherent in analog productions.
 
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Nov 22, 2018 at 9:37 PM Post #10,716 of 17,336
So now only digital is acceptable for music listening?I enjoy music even on a clock radio that's not capable of discerning differences in recording tech.You are also eliminating music over 30 years old from your repetoir.Maybe you're more into the tech than the music?
Not sure if you are referring to me, if so you have misunderstood my sarcasm which was directed to Asurvivor's logic.
 
Nov 22, 2018 at 9:49 PM Post #10,717 of 17,336
I'm sorry.
I give up.

- I honestly don't even know how to discuss things like this with someone who doesn't find it obvious that "noise which is correlated to the music" is NOT "random noise".....
(It's simple semantics... BY DEFINITION.... something that "follows the music" - even if it's modulated noise or distortion - is no longer random... it now contains INFORMATION.)
- Or who equates "I can't do something yet because there are challenges that still have to be resolved" to "it's absolutely impossible to do it".
(And, no, I didn't read the section that detailes the future predictions of those particular authors... because that's simply their opinions.)

1. Do you have ANY counter (reliable) evidence that justifies not accepting it? If not, then how come the debate is not over?

2. If it has not been successfully done yet, that means no one has achieved this feat of analysis yet! And to be specific, they didn't say "it was still a challenge", they said that "the challenges due to the complexity and uncertainty of the sound scenes still remain to be resolved! Furthermore, you seem to have missed the rather large section where they detail "Future Directions" (highlight is mine) which may lead to a (future, not current) resolution of the challenges, you also seemed to have missed the part (in fact "parts" because it's mentioned more than once) where they state that detailed information would be required, such as the mixing process, microphone placement, etc. Information that does not exist for any current or past commercial recordings. So yes, they are CLEARLY saying that it is NOT possible currently, which is the opposite of your assertion that "I will also point out that I did not say anything was "trivially easy"...... But only that it was "possible with current technology"". And, this analysis feat is currently impossible even in the audible range, which is where the acoustic information actually resides, so it's self-evident that it's impossible in the ultrasonic range, where it does not!
2a. You did In effect state it would be "trivially easy", you stated that even "my cheap cell phone" would be "quite capable of doing it"! Just to be specific, here's some reminders, as you appear to have forgotten (despite already being reminded!) what you've actually posted:
"Izotope's latest restoration utility has the ability to .. not just add, but to REMOVE, reverb.... Apparently it is able to pick out the specific sounds of reverb, differentiate them from primary sounds,"
"There are also several new pieces of software that allow you to "match the acoustics of one track to another" - presumably by analyzing, and then collectively replicating, the "echoes" and "room noise"
"We're simply talking about a modernized version of "timing the echoes to see how big the cave is"... although much more detailed analysis is possible these days."
"I would use a high pass filter to separate the ultrasonic content from the "audible music". Then I would boost it a bit to make it easy to work with. Then I would fed it into a DSP engine running appropriate software to analyze it.
"By measuring the arrival times between the initial wavefront, and the first three or four echoes, I will now know the dimensions of my room. Actually, I'll have to do this same analysis with several sounds, and correlate the results. In 1950 this would have required a really expensive computer; nowadays the processor in my cheap cell phone is quite capable of doing it in a few seconds."

3. And have you noticed gravity?
3a. It is NOT clear they "aren't random noise", it would ONLY BE "clear" if you present some actual evidence instead of just repeating "it's clear"! According to the evidence presented we haven't yet gone beyond: Random noise whose amplitude modulates with the musical content! Although I'll agree with "electronic distortion" as I've witnessed it on numerous occasions.
3b. Firstly you haven't ascertained they are harmonics and secondly, there's no evidence for, but overwhelming evidence against, that reflections of those ultrasonic harmonics, even if present, would be unrecordable. So, where does the "of course" come from?

It's obvious that you cannot/will not answer ANY of the questions put to you or provide any evidence to support your claims, it's just repetition of the same unsupported claims, with the addition of (and I'll be unreasonably charitable about it) inadvertently misrepresenting/obfuscating what the paper actually stated and what you yourself have stated. I'll leave others to draw their own conclusions from these facts!!

G
 
Nov 23, 2018 at 3:23 AM Post #10,718 of 17,336
The same can be said for ANY analogue recording, but more so as what is lost or distorted is WITHIN the range of human hearing. So should we all be in dark despair with all those recordings done in the 1950s/60s when microphones, tape and tape recorder technologies were far less advanced than today? Then there is the imperfect process of converting the taped music to vinyl through many transducers, RIAA equalisation which modern technology cannot really address.

I think perhaps, you just are not into very high fidelity of digital processing and prefer the distortions that are inherent in analog productions.

True; NOT into very high fidelity of digital processing - because there is no such thing, and even IF it is, it gets definitely abused the second most audio engineers lay hands on it. The results of such abuse *grace* FAR too many recordings to even start mentioning them - and, to me at least, are far more offensive than any reasonably decent analogue recording - or AAA in digital parlance.

There are uses where I might concede the use of advanced high quality HIGH sample rate PCM/DSP is beneficial and ultimately superior to any analogue - and that would be crossovers for 2 or more ways active loudspeakers. It is possible to produce "nearly perfect" square wave(s) in the vicinity of the ears of the listening position of the listener with loudspeakers using mentioned DSP. It takes a VERY high processing power computer to run such a "crossover network" - $$$ - and that's why this approach is almost never available in a commercial product.

And if anyone starts arguing there are no square waves in music, he/she should remind him/herself what a square wave actually is - and which parameters have to be next to perfectly fullfiled before any decent approximation to the square wave is actually possible.

RIAA equalisation is possible to perfectly address in a commercial product from about - at least - 1978. It might be a single phono preamp to achieve it - but it DOES exist. Then - and today - existed/exist phono cartridges operating on amplitude sensing principle, which do not need RIAA, like all velocity sensing cartridges ( anything involving magnetic induction - MMs, MCs, etc ) at all - or only FAR less problematic mild correction for the perfectly linear response of the electrical part of the phono playback. Tape recording has also been completely eliminated - precisely about the same time frame. You should check out direct to disk recordings by Ken Kreissel for Miller and Kreissel recordings - also using best analog reproducing gear of the era ( or, in some cases, better yet, current crop of the best analog ).

Taken together, all of these measures run mind boggling rings around any RBCD. The only actual advantage while listening RBCD has is better dynamic range, better bass and no surface noise - in everything else it fells - by its very definition - short. Whatever the defficiences of analog, in this case it is more than offset by its virtues.
Although I am no politician ( my worst nightmare ), I will say : Use your ears.

Today, the best digital - HR, be it DSD or PCM/DXD - has advanced to a point it can challenge, meet or exceed anything any analog has to offer. Yet, there are stubborn ones who insist RBCD is all any listener at home will ever need.
Agreed - IF he/she NEVER leaves the home and, per some miracolous sorcery, strays to reach attending a live concert involving only acoustic instruments in a decent acoustics venue.
 
Nov 23, 2018 at 5:35 AM Post #10,719 of 17,336
[1] - I honestly don't even know how to discuss things like this with someone who doesn't find it obvious that "noise which is correlated to the music" is NOT "random noise".....
(It's simple semantics... BY DEFINITION.... something that "follows the music" - even if it's modulated noise or distortion - is no longer random... it now contains INFORMATION.)
[2] - Or who equates "I can't do something yet because there are challenges that still have to be resolved" to "it's absolutely impossible to do it".
[2a] (And, no, I didn't read the section that detailes the future predictions of those particular authors... because that's simply their opinions.)

1. If I take a piece of random noise and raise it's level by say 6dB, it it still random noise just 6dB louder or has it magically turned into something else? If I take some random noise and change it's level more than once, is it still random noise that's had it's level changed more than once or has it magically become something else? If I take some random noise and change it's level in time with say the beat of a piece of music, is it still random noise or has it magically become something else? Your mistake is in saying the "noise which is correlated to the music", the noise is NOT correlated to the music, if it were, it would not be noise, it would be the music. The random noise is still just random noise, only the level of that random noise changes in time with the music. Could we extract information from this? Yes, we could extract the time/tempo of the music. Could we extract say harmonic information from this random noise? No, it's random noise and by definition does not have any harmonics! Could we extract acoustic information from this random noise? In theory, you could extract the timing of reflections from those amplitude changes, until those amplitude changes fell within the natural amplitude variations of the random noise. In practise though (in the real world), to extract that information we OBVIOUSLY actually need that information to exist in the first place, there must actually be amplitude changes of the random noise that are in response to the reflections. That presents two problems: Firstly, you have NOT provided a single shred of evidence those amplitude changes even exist in the first place and Secondly, even if there were some amplitude changes in the noise that might be caused by reflections, how would you ever be able to determine that in a complex audio mix? We would not be able to relate these hypothetical amplitude changes (in the random noise) to the instrument harmonics causing the reflections because the random noise does not contain any harmonic information (by definition of it being random noise)! In fact, even in the audible band where we definitely have some acoustic information and it's frequency related information (rather than just random noise), STILL it is currently impossible to extract that information! ... It is possible however that you are being "honest". Maybe it's true and you really "don't even know how to discuss things like this with someone who" ... knows what "correlated" means in terms of an audio signal, has some reasonable knowledge of audio and therefore doesn't accept your assertions of "obviously this" or "it's clear that", just because you say so, especially when the actual evidence effectively says the exact opposite. Maybe you only "know how to discuss things like this" with audiophiles and others who don't know enough to question/doubt your assertions?

2. If there are still challenges to be resolved in our knowledge of HOW we might accomplish a particular task, then it's self-evident that it's currently impossible to achieve that task. As this is such an easy concept to grasp, I'm finding it difficult to comprehend why you're avoiding grasping it. Actually that's not true, I'm not finding it difficult to comprehend "why" but I'm just not allowed to say :)
2a. This statement appears to indicate that you can't/don't/won't differentiate "simply an opinion" from an "opinion informed by the facts/science"? (Which could explain many of you contributions to this thread) However, It's a critically important distinction (especially in this sub-forum!). For example, the American government spent hundreds of millions of dollars building a device (LIGO) to detect gravitational waves, the existence of which was an "opinion informed by science" (reliable evidence). However, the American government has not spent hundreds of millions of dollars building a device to detect unicorns, because the existence of unicorns is "simply an opinion" that is uninformed and unsupported by any facts/science. Without this distinction, there is no reason for this sub-forum to exist (or indeed for the vast majority of science itself to exist), it would just be the same as all the other forums and have no relation to science or the facts!

Additionally, I can't see how one can logically argue for an interpretation of a scientific paper (regarding what is currently possible or may/may not be possible in the future), if you haven't even read the paper's section on future areas of research?!

G
 
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Nov 23, 2018 at 8:39 AM Post #10,721 of 17,336
I give up.

Me too. After several months here, I've concluded that it's not possible to have productive discussions about 'sound science' around here. The dynamic of the forum is more like a politics forum than a science forum. Some consequences are a lack of manners by a few of the more active posters, interesting discussions not being able to get off the ground, and some important practical questions being overlooked.
 
Nov 23, 2018 at 10:05 AM Post #10,722 of 17,336
Well said.

Yes, when you raise the level of that noise, you have modulated it... and so you have added information to it.
In the most trivial example, if I was napping in the studio, and I heard the hiss coming from the speakers get louder, I would know someone had moved the control.
And early radio transmissions were accomplished by generating random RF noise using a spark gap - and modulating it on and off with a telegraph key.
And, when I sit at a certain fast food restaurant, I can tell if the ceiling fans are spinning, and how fast, because the blades modulate whatever is coming from the speakers.
(And that works whether they're playing music or all I can hear is background noise... either way it is modulated by the fan blades... which happen to partially block some speakers.)

I'm told that experienced telegraph operators could even extract significant extra information from those simple Morse code signals.
For example, they claimed to be able to tell whether the operator at the other end was tired (by how consistent the timing was on his modulation).

I should also point out that we humans FREQUENTLY use patterns in random noise to obtain useful information.
Didn't you ever listen for the slight jump in the background noise to tell exactly when someone had patched in an extra track?
How about listening for the jump in background noise on a high quality recording of a vinyl album as a way to tell exactly when the needle was dropped?
(In both of those situations you have "extracted useful information by listening to the modulation of random noise"....... )
And, when I'm talking to someone on their cell phone, I can often tell whether their car window is open by listening for traffic noises.
(And it's easy to tell whether they're at home, or on the road, or even sometimes where they are, by analyzing the background noises.)
(It's interesting that, even when I can't hear details, my human brain can still recognize the difference between "restaurant ambience" and "road noise".)

The complicated part is extracting more precise or more detailed information.
The room correction system we use in our lower-end Emotiva gear sends out a burst pattern with a particular envelope.
The system then listens for the signal from each speaker to reach the microphone and uses the time delay to determine speaker distances.
We're playing a known pattern, and using the direct time from the speaker to the microphone, which makes it a easy to decipher.
SONAR, and ultrasonic rangefinders, also both send out their own signal - for the same reason.

If you wanted to do something like that with an unknown signal - like music - where you don't get to generate your own unique signal...
You would have to FIND distinctive pieces of signal.... for example, the distinctive "sort of impulse shaped sound" from a snare drum hit or a tap on a cymbal.
You would probably have to search to find a unique wave-shape.... but, like looking through a window, you wait until you find a signal you can lock onto.
The process is roughly analogous to facial recognition - which attempts to find an approximate match between a known and a bunch of unknowns.
(The system looks at an image, picks out faces, then attempts to determine enough detailed characteristics in one to identify other similar ones.)

Errrrr.....

When a specific source says that "there are challenges to be resolved" - they are stating two things:
1) That THEY have not succeeded in accomplishing the task they're referring to (and don't know of anyone else who has).
2) That, rather than believe it to be impossible, they already have some idea of what they'll have to achieve to make it work.

For example, "there are unsolved challenges that prevent us from sending a live human being to Alpha Centauri".
(But most people I know assume that we will eventually do so... whether it's in twenty years or a thousand.

Note that this is also a "local assertion".
They can only state that they haven't done it... and that nobody they know has done it, admitted to doing it, and provided proof that they've done it.
Neither you, nor I, nor the authors of that paper, know if this has already been done, in some secret project, conducted by the US Navy - or by one of our competitors.

Likewise, the question of whether we can successfully clone a human being, or whether it has already been done, but simply not reported, is considered to be open.
(Beyond a few minor details, we know that current technology has successfully cloned other mammals, and the differences seem likely to only be matters of detail.
There are many reasons for trying to clone a human being, many reasons for publicizing it if you do, and many reasons for keeping it a secret if you succeed.)

Now, as for unicorns..... AS FAR AS I KNOW the US Government hasn't fielded any extensive projects to hunt for them....
However....
- you might be amazed how much money our government, and many others, have spent researching telepathy, and remote viewing, and mind control (unsuccessfully)
- and, during WWII, they had a major project that was based on gluing tiny little incendiary bombs to bats and releasing them over Tokyo (successful but never implemented)
- and we and the Canadians spent a lot of money developing a rather comically unsuccessful flying saucer
- he military are quite often excellent scientists - because they're willing to fund attempts to LEARN THINGS by TRYING to do things that may or may not be possible

And, no, I didn't read it - because I can't see how the opinions of "future directions" by one particular group of scientists would "prove" anything either way (or any way).
(I may eventually read it, as a matter of academic interest, but it certainly isn't going to prove anything relevant here.)

I can tell you for a fact that I've never funded a project to see if we could accomplish what I suggested...
If someone is interested enough in getting it to work, perhaps someday they will, then we'll know if it's really possible or not...
(at least within the constraints of current technology, the capabilities of the team they hire, and their budget).
Until then, it simply remains conjectural.

1. If I take a piece of random noise and raise it's level by say 6dB, it it still random noise just 6dB louder or has it magically turned into something else? If I take some random noise and change it's level more than once, is it still random noise that's had it's level changed more than once or has it magically become something else? If I take some random noise and change it's level in time with say the beat of a piece of music, is it still random noise or has it magically become something else? Your mistake is in saying the "noise which is correlated to the music", the noise is NOT correlated to the music, if it were, it would not be noise, it would be the music. The random noise is still just random noise, only the level of that random noise changes in time with the music. Could we extract information from this? Yes, we could extract the time/tempo of the music. Could we extract say harmonic information from this random noise? No, it's random noise and by definition does not have any harmonics! Could we extract acoustic information from this random noise? In theory, you could extract the timing of reflections from those amplitude changes, until those amplitude changes fell within the natural amplitude variations of the random noise. In practise though (in the real world), to extract that information we OBVIOUSLY actually need that information to exist in the first place, there must actually be amplitude changes of the random noise that are in response to the reflections. That presents two problems: Firstly, you have NOT provided a single shred of evidence those amplitude changes even exist in the first place and Secondly, even if there were some amplitude changes in the noise that might be caused by reflections, how would you ever be able to determine that in a complex audio mix? We would not be able to relate these hypothetical amplitude changes (in the random noise) to the instrument harmonics causing the reflections because the random noise does not contain any harmonic information (by definition of it being random noise)! In fact, even in the audible band where we definitely have some acoustic information and it's frequency related information (rather than just random noise), STILL it is currently impossible to extract that information! ... It is possible however that you are being "honest". Maybe it's true and you really "don't even know how to discuss things like this with someone who" ... knows what "correlated" means in terms of an audio signal, has some reasonable knowledge of audio and therefore doesn't accept your assertions of "obviously this" or "it's clear that", just because you say so, especially when the actual evidence effectively says the exact opposite. Maybe you only "know how to discuss things like this" with audiophiles and others who don't know enough to question/doubt your assertions?

2. If there are still challenges to be resolved in our knowledge of HOW we might accomplish a particular task, then it's self-evident that it's currently impossible to achieve that task. As this is such an easy concept to grasp, I'm finding it difficult to comprehend why you're avoiding grasping it. Actually that's not true, I'm not finding it difficult to comprehend "why" but I'm just not allowed to say :)
2a. This statement appears to indicate that you can't/don't/won't differentiate "simply an opinion" from an "opinion informed by the facts/science"? (Which could explain many of you contributions to this thread) However, It's a critically important distinction (especially in this sub-forum!). For example, the American government spent hundreds of millions of dollars building a device (LIGO) to detect gravitational waves, the existence of which was an "opinion informed by science" (reliable evidence). However, the American government has not spent hundreds of millions of dollars building a device to detect unicorns, because the existence of unicorns is "simply an opinion" that is uninformed and unsupported by any facts/science. Without this distinction, there is no reason for this sub-forum to exist (or indeed for the vast majority of science itself to exist), it would just be the same as all the other forums and have no relation to science or the facts!

Additionally, I can't see how one can logically argue for an interpretation of a scientific paper (regarding what is currently possible or may/may not be possible in the future), if you haven't even read the paper's section on future areas of research?!

G
 
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Nov 23, 2018 at 10:45 AM Post #10,723 of 17,336
Yet, there are stubborn ones who insist RBCD is all any listener at home will ever need.
reminds me of someone pretty stubborn, insisting that vinyl is superior to CD because of some crap measurable in the ultrasounds.


Me too. After several months here, I've concluded that it's not possible to have productive discussions about 'sound science' around here. The dynamic of the forum is more like a politics forum than a science forum. Some consequences are a lack of manners by a few of the more active posters, interesting discussions not being able to get off the ground, and some important practical questions being overlooked.
can I call BS in this? of course it's easy to notice mostly what goes against our own views, and against what we're personally interested in discussing. just like my grandma would feel invaded by black people when she saw a family of 3 at the market in a massive crowd. no statistical relevance, but certainly a magnified subjective impression.
but I'd be curious to know what scientific discussion is impossible here? I can't even stop 100% disproved ideas from being brought up again and again into various conversations, and you want to make me believe that you can't discuss something?
if nobody cares, or nobody knows, I guess that would put a stop to it. and if the all discussion is based on maybes with no data, and no hope for us here to provide more ourselves, like your beloved subconscious themes, then we can hardly have a scientific conversation about it, can we? because let's not forget that science isn't just about sciency looking topics. it's also about fact based knowledge and experimentation so that we don't end up too often in fiction and pseudo science.
I'm certainly the stuck up kind that wouldn't do well around people discussing string theory. I believe in falsifiability as the main reason to trust science. even more so in this specific audiophile environment where 10 people will have 10 versions of reality and at least half of them are going to mistake subjective impressions for objective facts. which really contributed to make me the skeptic I now am(along with all the real world lies and omnipresent marketing). but even then, doing my worst to shut down those conversations, tends to amount to me reformulating what's in my signature. is that stopping people from discussing whatever they want? I wish.
 
Nov 23, 2018 at 11:08 AM Post #10,724 of 17,336
When you can sit me down in a room with a band and a sound reproduction system.
And I literally cannot tell which is playing... ever...
And, when we try it with other bands, and other listeners, nobody can ever tell the difference....
Then I'll be the first to agree that "we've accomplished perfect sound reproduction so there's no need to keep trying".
Until then... we simply aren't there yet.

Every time I have reproduction that I cannot tell if it live or recorded it is extremely stressful and unpleasant. Your eyes tell you one thing your ears tell you another. Much like the stress people experience going into an anechoic chamber. Almost all recordings are not intended to sound realistic.
 
Nov 23, 2018 at 11:48 AM Post #10,725 of 17,336
Every time I have reproduction that I cannot tell if it live or recorded it is extremely stressful and unpleasant. Your eyes tell you one thing your ears tell you another. Much like the stress people experience going into an anechoic chamber. Almost all recordings are not intended to sound realistic.

Almost NEVER caught a rabbit.

However, I do agree with your observation regarding the stress induced from totally different information presented by ears and eyes.

The solution is video to go with audio - most likely, ultimately resulting in some form of VR.
 

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