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BOOKS AND ARTICLES
Setting up acoustics in a car using mono recordings
Actually, my original plans were to start my "collected works" with other topics. But, as soon as a collective misunderstanding of the essence of some of my ideas was revealed, I will start with this one. Part 1 From the very beginning, I would like to dwell on one thing, which, unfortunately, is a source of confusion for many sound lovers. This is their sincere belief in the existence of the Perfect Record. Faith - it is faith in Africa, it does not require proof. They (Ideal Records) are! And everything is here. But everyone knows - blind faith does not lead to good. In our case, it is an inexhaustible source of rakes and other impact agricultural implements, as well as direct material damage to the family budget caused by constant mistakes in choosing the components of the sound complex. Swimming, we know... One type of Ideal Recording is the Ideal Stereo Recording, Where the Sound Stage is Known Accurately. Each believer has a certain number of such recordings in his arsenal, with the help of which they perform the ritual of setting up the sound stage. Some of the recordings are elevated to Absolutely Perfect, because they even have a drawing that shows the arrangement of instruments in the studio during recording. Or in any other way this arrangement is described. Or the believer himself was present at the recording. These arguments, upon close examination, are as convincing as the proof of the superiority of Armenians over Georgians in anecdote. "Armenians are better than Georgians. - What's better? - Than Georgians!" So, suppose we know where this or that musician was sitting during the recording. And who can guarantee us that this is absolutely accurately reflected on the resulting record? But nobody. Moreover, the record will never have exactly what the musicians played anyway. Why is that? Because before the recording becomes such, the sound will get into the microphones, then into the mixer, then God knows where else. And everywhere various changes take place with him, in any case, moving the content of the recording away from the sound that came into the microphone. Yeah, the believer will say, and then the smart uncle, the sound engineer, will listen to the resulting blank and make the stereo picture as it should, and generally fix everything! Okay, let's say our sound engineer is a genius. Only one more assumption must be made - at the same time, he must have equipment that reproduces exactly what is in the recording. In other words, ideal. And the ideal equipment has not yet been invented, since all its inventors (those who said so) were hidden away to Napoleons and the creators of the perpetual motion machine. Even the Audionote for 400 thousand green rubles - and that one is not very perfect (although, I think, it is very good). Therefore, no matter how much we draw musicians on the inserts for discs in the studio, it’s still not recorded on the disc. And adjusting the scene according to the "reference" recordings is like using a ruler drawn by eye - it's pretty funny, isn't it? Here it would be appropriate to honestly admit that everything written above is not even my thoughts at all. It's more like a summary. Now, actually, about the stage. It depends, as far as I understand, on the relative phase of the signals coming from the recording in the ear. If for some reason oscillations of different frequencies pass for different times on this path, the stereo image will be broken. I emphasize - in relation to what is written down. And if this time and at one frequency is not the same in different channels (which in a car, apparently, is a sad rule) - in general it’s a pipe. If we remember with what generosity phase inverters, crossovers and other signal processors are installed in the car, it becomes simply scary for the signal phase. It is proposed to fight against phase shifts of all stripes with the help of monorecordings. What do we really know about them? The fact that the signals of the right and left channels are exactly the same, both in amplitude and in phase. In any mono recording, this is a law, and the equality of signals does not depend either on an insidious sound engineer, or on his imperfect speakers, or on the crisis in Brazil (I do not consider cases of poorly recorded cassettes and Chinese discs - this is a pathology). In the end, the identity of the signals of the two channels can be checked with the help of instruments, just the happy case when the measurement gives a clear and unambiguously interpreted result. The method, by the way, is somewhat similar in essence to adjusting the tilt angle of the heads in a tape recorder using a test tape. Those who have done this at least once (using a two-beam oscilloscope) will understand me. This is the same thing, only with music and by ear. Let me pay special attention to the fact that with this method we check the entire path for "phase shift", starting from the source and ending with the salon mirror, which for some reason suddenly distorted the signal from the right tweeter. The whole tract. Which records to use. Any. In principle, pink noise recorded in both channels is also possible. But I personally prefer music. Only, for God's sake, do not use the recordings of "voices" from the right-left-center! They are not very informative, and are only suitable for checking whether we have confused the right channel with the left one and the phase of one of the wires. Ordinary, music discs, only mono, the more of them - the better. The fact is that in order to explore the entire frequency range for phase correctness, it would be nice to reproduce all audio frequencies. One record is dominated by certain frequencies (the violin doesn't play at 50 Hz, after all), while the other one is dominated by others. In addition, musical recordings will contain precisely such combinations of frequencies that are inherent in instruments, voices, etc. That is, the tuning takes place in the conditions of a real musical signal. And by using the most sensitive measuring instrument, our own hearing, we try to make all sound seem to come from a single point. There is no ambiguity about where the guitarist actually sits, and where the fat black guy moved his saxophone in a state of musical ecstasy! One point, and that's it, no "pluralism". If, for example, the signal from the rear speakers is delayed - this will immediately become apparent, there will be an additional PIZ (apparent sound source). And with the usual methods of tuning, this defect completely passes for all sorts of "atmosphere of the hall" and other, to put it mildly, "effects". Where exactly to locate the KIZ is a matter of taste. I suspect that somewhere on the hood (if it's not SuperMaz). Most likely, if it can be "pushed" forward over the edge of the hood, the scene will turn out deeper in stereo playback. And if, when moving the balance control, the KIZ moves completely and completely in the corresponding direction, you can clap your hands. However, I have serious misgivings that the method, for all its simplicity and obviousness of what needs to be achieved, is not so simple as to how to do it. Even, moreover, it is unlikely that it will be possible to completely collect all the sound into the ill-fated KIZ. Surely some frequencies will "spread out" in the form of a cloud. The fact is that even in much simpler (in this sense) home conditions, when the speakers are a good three meters away - and even then, mono recordings sound much clearer when one of the channels is turned off, this is easy to notice by ear. And who, in fact, promised an easy life? If we are on the wrong path, no matter how easy it may be, the goal will not be achieved. And so at least there is a chance. Part 2 Returning to the method proposed in the previous part of the story, I want to share some new thoughts. Their essence is this. Suppose, in order to make the mono signal appear to us as coming from the same point, we placed the speakers of the right and left channels, for example, between the front seats. In practice, of course, no one will do this - I offer this option only for illustration. In this case, most likely, it will be possible to achieve in-phase quite easily, and the sound will come from one point, as it were, however, it is obvious that the sound stage will then turn out to be narrow. At first glance, everything, a dead end, the method did not take place. The way out I see is this - having achieved "one source" in the middle position of the balance control, you need to do the same in intermediate positions so that our "point source" moves gradually to the left and right. In principle, I mentioned this in passing, but did not attach too much importance to it last time. Actually, if you think carefully, then the previous part should have been placed after this one, since usually they start setting up the sound stage, at least after buying the necessary components - amplifiers, speakers ... Therefore, it would be most logical to first dwell on the choice of components. Well, better late than never. It is unlikely that anyone will have to be convinced of the importance of this stage, since much less good equipment is being produced than we would like. There is a lot of "cool", "fancy", even "audiophile", but there are few capable of decent music reproduction. And there is nothing surprising in this - from the point of view of marketing, sound qualities mean less than the presence of a joystick - no one knows what assessment the sound will be given later by experts in magazines, but they will definitely write about the joystick, and put an extra star. And on display, again, it looks great. Therefore, a person for whom the most important thing is music is in an extremely difficult position. So, the person decided to listen to one or the other device. A number of typical, no, even the most typical, mistakes are usually made here, which are a direct consequence of Belief in Ideal Records. Error 1 ("spectacular"). This is when a person brings his favorite records, usually pop music, and tries to achieve "sweetness" of the bottoms, "transparency" of the tops, plus more "details". Error 2 ("audiophile"). A certain number (in especially severe cases - one) of recordings, of course, Ideal, are taken, and attempts are made to select an apparatus that gives supposedly natural sound. As luck would have it, the recordings are most often not perfect in everything, so on one the Ideal drum is checked, on the other - the Perfect spike of the double bass string, and on the third - the Ideal sound of the sounding board, but of a different double bass. The vocals, as everyone guessed, are recorded well on the fourth. By and large, Error 1 and Error 2 are siblings, with the last of them being the older one. What does it consist of, like at first glance everything is correct? Again, in the fact that no one knows anything about what is recorded on a particular disc and how it should actually sound. I'm just amazed - after all, the "progressive part of music lovers" writes about this. However, 99% of the reviews consist of "clear highs" and "bouncy bass". And what, is the device under test good if the guitars on it are always elastic, and the highs are always transparent? Yes, they must be different. Imagine for a moment that all the girls suddenly have legs of the same length. Or - 90-60-90. Brrr!… I will give an example from my own experience. Just recently I attended a concert during which different musicians played the same instrument. The most surprising thing was that the timbre, at least a little, but still changed. Especially considering that it was not a synthesizer, but an ordinary piano. Although "Steinway" is a sin to call ordinary. And with what, I wonder, then we will compare the sound of the recording of this concert, if one appears in nature? I would even suggest to the organizers of car audio competitions one idea, in addition to the already existing "tests". Its essence is to record several identical fragments recorded with different microphones on the judge's disk. Or played on the instruments of different companies. Say, on one fragment - Steinway, on the other - Yamaha. Might be worth trying as an experiment? RASK will be ahead of the rest... However, competition is a good thing, but we digress. I note that the "by contrast" method has disadvantages. The most important thing is that it takes quite a lot of time, because in order to understand how well the component conveys the differences, you need to listen to at least two recordings instead of one, Ideal. Experts have time, but the buyer in the store usually has very little. Therefore, there is a reason to take with you records of very good performers of the genres that you prefer. There is some kind of ambiguity - and where, in fact, contrasts? There is no contradiction - the tested device must necessarily demonstrate to us the difference between a very good performer and an ordinary one. As my personal experience shows, this method is much simpler than traditional ones - you can immediately hear, yes, this is a real musician playing. Remember the joke about Caruso that Haimovich sang? And the ear will notice the timbre and other aspects by itself, you should not concentrate on this, as auto mechanics say - "a good knock will come out." In the sense that we will notice defects that frankly interfere with perception, and if they do not prevent us from knowing the great, then God is with them. Surely an inquisitive reader has already suspected that sooner or later I will screw up the topic of monorecordings anyway. And that's the way it is. Let's think - where did they come from? Why do companies go to re-release their old, often imperfect, records half a century ago? The answer is clear - because they are of interest. In nature, there is not a single stereo recording, for example, of Glenn Miller's orchestra. But nevertheless, those that have survived are a lot of fun. And if, for example, for some reason we do not feel a huge charge of energy, drive in the performance of this orchestra, then the component has lost it. It doesn't matter how energetic the drum-barrel is. In addition, archival records have another feature. As a rule, compositions recorded at different times are collected on a disc, and it becomes possible to follow the changes that have occurred with the performer, his handwriting, and mood. For example, it is interesting to listen to a disc that covers almost the entire period of Elvis Presley's work. Or the same song sung by Louis in the 40s and 70s. Another "variation on a theme" is listening to the same piece performed by different musicians. A very exciting activity. There is, however, a risk of inflicting injuries on each other after the usually following "showdown" on the topic: "Ella sings better than Gilberto!" Not surprisingly, for the sake of such women, men are ready for anything. I'm kidding, of course. In conclusion, I would like to hope for a response from readers who decide to use the proposed method, and, for my part, wish them success. Publication: www.bluesmobil.com/shikhman
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