Quote:
The dynamic range is about 70 dB if you hit the key really hard. A more realistic figure is about 40-50 dB (checked on a couple of recordings).
Why? The harmonics that extend beyond 10 kHz are very weak and the dynamic range clearly fits easily into 16 bits. As harsh as it may sound I call BS on your claim.
Yes, the dynamic range you cite is about correct. When listening/recording "normal" piano music. I was really taken by surprise just how loud or hard the piano can be played for real - about two years ago when recording a piece by a modertn compser that is extremely seldom performed due to the extreme demands on the part of the pianist. It is so demanding that the pianist refused to play it for me in order to set the recording levels right during the rehearsal. I did adjust for about - 4 dBFS ( please note when recording DSD, there is no brick wall at 0 dB as with PCM, there is yet 3 dB headroom over 0 dBFS available without objectionable distortion ) - in effect, giving me 7 dB headroom above anything played at the rehearsal. Come the concert ... all peak LEDs turned red ! When trying to ressurect that piece, a guesstimate of about + 8 dB was made, according to the general trend seen on the computer ... Any Beethoven piano piece is cat's meow vs lion's roar, as far as sheer loudness is concerned - never thought it is possible to attack the piano with such ferocity ! An absolute extreme, but - I learned the hard way it exists and that it is real. That would add up in the end for the piano dynamic range exceeding 80 dB - still no match for some percussion, that go from zero to 100++ dB within a single stroke.
Regarding high frequency overtones - I might well have said upper midrange overtones. There are numerous mechanisms to distort the sound of the piano, from microphone through all amplification to the end transducer, be it headphone or speaker. Most troublesome are resonances in the end transducers - but even through these weakest links in the chain it is easy to hear the difference between live microphone feed during recording, that mic feed through DSD recorder and the same mic feed through CD-R recorder. Please note that commercially available CDs which I assume you have used to measure their dynamic range, were subject to mastering, with further losses of fidelity along the way. The first to suffer is the dynamic range.
Level of overtones ABOVE 20 kHz, which is accepted as high frequency limit of hearing of humans, is really minuscule - but it does make the difference. I guess it is on average below 1 % in amplitude vs "main sound" - but is the same as salt in soup - totally without it is soup not tasty for most people, too salted is undegestible. It is this extension above 20 kHz that allowed analog to survive and return in ever bigger numbers - CD just would not allow for the correct presentation of recorded acoustics, for which correct phase and therefore frequency response is mandatory - CD with the brick wall filtering above 20 kHz is inherently uncapable of doing it.
If you do not believe me - try it by yourself. If you want to improve the quality of your bass, the right thing to do, provided your woofers are at least respectable in the first place, is to add - supertweeter. Of course, you have to feed it with a source that extends above 20 kHz - ruling out the CD.
With analog and emerging high resolution digital supporting frequency response above 20 kHz, it does make sense - just check the catalog of Tannoy, for example; they would not be offering supertweeters if there were no fire behind this smoke, they have far too good reputation to jeopardize it by someone calling them just greedy for offering supertweeters for nothing but profit to themselves and no gain to the buyers.
It is funny how people think that an audio device will sound sharper/harsher if it has more extended frequency response. Exactly opposite is true - the more extended the rsponse, the more naturally rounded "nothing to comment upon" sound emerges. Want proof ? Go to the
http://www.2l.no/hires/index.html
You can download the same music in multitude of formats/resolutions. The best you can do at home is to listen to DSD download played on DSD recorder or DSD DAC - no DXD devices commercially available that are known to me. And you can proceed from there to PCM - from 192/24 to lower resolutions.- at least they had it available not so long ago.
Or go to Linn Records http://www.linnrecords.com/linn-downloads.aspx and download various PCMs of the same piece of music - from 192/24 down to the MP3 - you can play these with foobar2000 - and hear the difference for yourself. The lower the resolution, the sharper/harsher the sound.