Il problema e la soluzione (secondo Dynavector)
Inviato: 06 apr 2011, 13:17
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« Why the Current Standards for Hi-Fidelity Reproduction are Inadequate and How Dynavector’s SuperStereo System Addresses the Problem
By Dr N Tominari, Head of Dynavector Systems Ltd. »
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« Why the Current Standards for Hi-Fidelity Reproduction are Inadequate and How Dynavector’s SuperStereo System Addresses the Problem
By Dr N Tominari, Head of Dynavector Systems Ltd. »
http://web.onetel.net.uk/~dynavector/hi-fidelity.htm ( vedi anche: http://web.onetel.net.uk/~dynavector/ ).The long accepted criterion for hi-fi sound reproduction is the realisation of an ideal transfer function of one.
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From the time the audio engineering was launched until today, the design principle for audio equipment, as well as for room acoustics, is still based on the common concept that sound velocity is always constant.
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As described before, a system having transfer function one has a flat frequency and phase response. This knowledge, based on Fourier’s theory, produced the common agreement that the transfer function one is the absolute criterion for high fidelity stereo sound reproduction and it has remained unchallenged until today.
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But finally, and fortunately, we have come to the conclusion that this accepted hi-fi criterion can be shown to be valid only under special conditions, such as in an entirely open space or in an anechoic room. But the recording and play-back of music must, of course, occur where the sound is confined within a limited space as in a concert hall, studio, or a domestic listening room.
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Following the analysis given above of the nature of sound in a concert hall or other enclosed space, we now wish to explain a totally new concept in audio history which we think marks a breakthrough in the understanding and achievement of the life-like reproduction of recorded music. We go so far as to say that, without an understanding of this concept, real advances in the playback of music will not be possible and digital high-technology will simply accelerate the confusion in the audio world.
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To put it more technically, the dispersive condition of the original hall must be recovered in the reproduced sound when playing back recorded music. It is thus clear that an essential requirement of true high fidelity is an accurate simulation of the original dispersive condition in the listening room in addition to meeting the current criterion of audio technology.
Marketing a parte, è una ipotesi che sembra interessante e ragionevole. Che ne pensate?
Qualcuno ha avuto occasione di sentire il loro "ADP-3" all'opera?