DOCSLIB.ORG

THE DYNAMIC RANGE POTENTIAL of the PHONOGRAPH by Ronald M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
THE DYNAMIC RANGE POTENTIAL of the PHONOGRAPH by Ronald M THE DYNAMIC RANGE POTENTIAL OF THE PHONOGRAPH By Ronald M. Bauman his article describes a new transmission standards of even lower added to the quietest passages by the approach for analyzing the quality than our current CD standards. cartridge-preamplifier combination dynamic range of the phono- Unless these standards are dramatical- should be essentially inaudible. graphic playback system, in which the ly upgraded (in terms of information Similarly, the cartridge-preamp sys- cartridge and preamplifier are treated content), we may never have a source tem should be able to clearly repro- as an integrated system. I analyzed of music for our homes that sounds ducd the loudest sounds on record the dynamic range potential of several better than the phonograph. without distortion, compression, or combinations of phono cartridges and Are analog records inherently better clipping. preamplifier amplifying devices and in some sense? Your ears may already The same should be true of CD compared the results to CDs. be telling you that analog can sound playback. The quietest passages Additionally, I speculate about the better than today's digital. I will should be reproduced without added drawbacks of frequency domain char- provide quantitative reasons this may noise or distortion of the rnusic acterizations of musical audio compo- be so. caused by amplitude steps, or sam- nents and suggest that the time pling intervals that are too coarse, or domain may be a more natural frame Qualitative Requirements by filter phase shifts and ringing. The of reference for audio instrumentation The subtlety of detail in the grooves of loudest peaks encoded, as for analog development. an LP record is astounding. Quiet, yet records, must be reproduced without clearly audible, details (such as the distortions, compression, or clipping. lntroduction reverberation characteristic of Car- Why should anyone still be interested negie Hall) are represented by stylus Definitions in the analog phonograph? The reason motions of less than an ultraviolet For CD players, dynamic range is is simple: today's best record playback wavelength (1/100,000,000 of a essentially the ratio of the loudest pos- systems sound better than today's meter)-a dimension approaching the sible output signal to the quantization best CD players. (CD playback is size of a complex organic molecule. noise, i.e., the noise corresponding to improving, though maybe not faster This submicroscopic motion may be the round-off error of the least signifi- than turntable, arm, and phono car- superimposed on an orchestral cant bit. For the 16-bit standard CD tridge developments.) Moreover, crescendo involving stylus motions format, this is 96dB dynamic range. many analog record treasures are thousands of times larger. Over the To parallel the previous CD defini- unavailable on CDs or other available last ten years, the ability of modern tion, I define the dynamic range of a and anticipated digital music sources. cartridges, arms, and turntables to phono cartridge as the ratio of the After all, standards to transmit digital resolve this ultra-fine detail, particu- loudest sound to the background music (and video) directly to our larly during loud and complex music noise referenced to the preamp output homes are developing. This will open peaks, continues to improve beyond terminals. Crucial to this definition is a vast library of musical selections for all expectations. understanding that there is an inti- our potential enjoyment. Ideally, to reproduce the dynamic mate relationship between the car- I believe that commercial considera- range inherent in the groove modula- tridge and the first preamplifier stage. tions and the limitations of today's tion of a fine LP with the least possible Each interacts with the other to estab- digital technology will establish digital degradation, the background noise lish dynamic range; neither the car- tridge nor the preamplifier stand alone. Oddly enough, the preceding defin- ition is not the conventional one, ABOUT THE AUTHOR Hon Bauman received his BSEE from Lehigh University. He is founder and owner of inSound, which produces high- end audio amps, preamps, and, in partnership with Mapleshade Electronics, the Omega Mikro line of digital and analog interconnect, power, and speaker cables. Ron also specializes in personal and meteor burst communica- tion systems design. With his wile Marcia, he is raising his FIGURE 1: Simplilied noise model of phono cartridge and preamplifier. sons Marcus and Mitchell. His hobbies include music, beer-making, llying, and restoring old Volvos. l6 Audio Electronics 4/96 which is simply signal-to-noise ratio equivalent circuit parameters of the age of the cartridge resistance in volts; (S/N) at some arbitrary cartridge out- cartridge. For the above three car- e, is the equivalent input RMS put lcvcl wcll bclow thc louclcst. tridgc.s, thc significarrt cir.ctrit paralnc- voltagc noisc gcncrator of the pream- Often, preamplifier noise is character- ters are the series resistance and plifier in volts; ized with the input shorted, which, as point2 inductance. The values are: Blue i* is the equivalent input RMS cur- you will see, is an incomplete and 108C1, 190pH;MCZ 70Q, 9mH; and rent noise generator of the preamplifi- useless way to measure preamplifier MC 100 34, negligible inductance. er in amps. noise. This conventional definition led None of the manufacturers states a The output S/N ratio is (1) divided to the widespread notion that phono need for a loading capacitor. Small bv (2): dynamic range is only 60-70dB. If loading capacitors and cable capaci- true, this means LPs are about tance and inductance have a second- Vo2/No = ec2l[eR2 + N2er2 + [ir?Nltlz.l2]l 25-35d8 more compressed than CDs, order effect on the equivalent electri- (3) an amount of compression so severe cal noise anyway, so I neglected them that you would notice a real in the following analysis. Notice that the input impedance of "Muzak"-like loss of dynamic impact Figure 1 shows a simplified equiva- the preamplifier has dropped out, in LPs relative to CDs. lent circuit for analyzing the noise and, therefore, does not direitly affect In fact, serious listeners find the performance of a phono ca"rtridge and the S/N ratio. opposite is true. Using LP and CD preamplifier, or pre-preamplifier. The Shunt resistances placed across the issues of the same performance, they circuit model is based on the Rotl-re- preamplifier input increase the noise have carefully and empirically com- Dahlke3 theory of noisy fourpoles (in power of the voltage and/or current pared state-of-the-art (SOA) phono which the preamplifier has one input generators. Such resistors can only systems to SOA f;ljfback CD players. port and one output port). In this decrease dyrlamic range by increasing LP playback is generally considered model, amplifier noise originates, at noise. Motchenbacher and Fitchena either better or eclual to CDs in macro- audio frequencies, as two uncorrelat- show that the output S/N ratio is dynamic impact. LPs are usually supe- ed generators: an ideal noise voltage maximized if the rior following is true: in subtle microdynamic shadings. generator, e*, and an ideal noise cur- rent generator, i*. These generators N2[e*/ir]= lZ.l ohms (4) Examples interact with the cartridge impedance To help quantify dynamic range for to establish the basic noise level of the Substituting (4) real phono - into (3) and simpli- playback systems, I use phono playback system. fying yields: three modestly priced examples: a The figure includes a transformer to Surniko Blue Point, a high-output show the effects of coupling very low moving Vo2lNo = eczllen2 + [eri, lZ"l]l (5) coil; a Grado MCZ, a fixed coil output-moving coil cartridges to pre- with moving magnet; and an Ortofon amplifiers. You assume the trjns- Assuming optimum noise coupling, MC 1091 a very low output moving former is - ideal, but you can represent the output noise is dependent on the coil. Although better-sounding car-- its losses by increasing the power of product of the basic noise generators tridges are available, I chose theie for the preamplifier noise geneiators. To of the preamplifier and the magnitude modest price and convenience, not to apply the diagram to transformerless of the cartridge impedance. Equation mention that I own one of each. preamplifiers, simply set N, the turns (5) shows that the preamp,s e*in, To estimate the dynamic range ratio, to one. parameter is useful for choosing capability of the vinyl Lp, first i estab- To calculate the S/N ratio at the low-noise preamplifier; the lor.ier lish the cartridges' sensitivity and the preamplifier output, first calculate the e*i*, the greater the potential S/N. largest signal amplitude it must han- desired output signal as follows: Therefore, consider using e*i* as dle. The sensitivity figures in units of an appropriate figure for any ampUfy- mY /cm/s are: Blue Point, 0.85; MCZ, Vo2 --A,2 [e.2/N2] [tZ(Z+ ft)t2] votts2 (1) ing device in which low noise is 0.42; and MC 100, 0.018. The worst important. I find it more useful case (loudest) recorded than sound on a where: Vo is the desired output sig- noise figure because record in the the parameter literature is 105cm/s at nal in volts; contains information 7kHz.1 necessary to e-a is the open circuit output voltage _ noise-match to a source and compare Of these three cartridges, the largest of the cartridge in volts; two devices. signal available to the input of the N is the turns ratio of the coupling Of course, as with noise figure, preamp is 0.85mV/cmls x 105cm/s, eri* transformer; varies with frequency, bias cur.eiri, or 89mV.
Load more

Recommended publications
  • The Early Years of the Acoustic Phonograph Its Developmental Origins and Fall from Favor 1877-1929
    THE EARLY YEARS OF THE ACOUSTIC PHONOGRAPH ITS DEVELOPMENTAL ORIGINS AND FALL FROM FAVOR 1877-1929 by CARL R. MC QUEARY A SENIOR THESIS IN HISTORICAL AMERICAN TECHNOLOGIES Submitted to the General Studies Committee of the College of Arts and Sciences of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of BACHELOR OF GENERAL STUDIES Approved Accepted Director of General Studies March, 1990 0^ Ac T 3> ^"^^ DEDICATION No. 2) This thesis would not have been possible without the love and support of my wife Laura, who has continued to love me even when I had phonograph parts scattered through­ out the house. Thanks also to my loving parents, who have always been there for me. The Early Years of the Acoustic Phonograph Its developmental origins and fall from favor 1877-1929 "Mary had a little lamb, its fleece was white as snov^. And everywhere that Mary went, the lamb was sure to go." With the recitation of a child's nursery rhyme, thirty-year- old Thomas Alva Edison ushered in a bright new age--the age of recorded sound. Edison's successful reproduction and recording of the human voice was the end result of countless hours of work on his part and represented the culmination of mankind's attempts, over thousands of years, to capture and reproduce the sounds and rhythms of his own vocal utterances as well as those of his environment. Although the industry that Edison spawned continues to this day, the phonograph is much changed, and little resembles the simple acoustical marvel that Edison created.
    [Show full text]
  • Universal Audio 4-710D User Guide
    Model 4-710d Four-Channel Tone-Blending Mic Preamplifier Universal Audio Part Number 65-00051 Revision A Universal Audio, Inc. Customer Service & Tech Support: +1-877-MY-UAUDIO Business, Sales & Marketing: +1-866-UAD-1176 www.uaudio.com Notices This manual provides general information, preparation for use, installation and operating instructions for the Universal Audio Model 4-710d. Disclaimer The information contained in this manual is subject to change without notice. Universal Audio, Inc. makes no warranties of any kind with regard to this manual, including, but not limited to, the implied warranties of merchantability and fitness for a particular purpose. Universal Audio, Inc. shall not be liable for errors contained herein or direct, indirect, special, incidental, or consequential damages in connection with the furnishing, performance, or use of this material. Copyright © 2011 Universal Audio, Inc. All rights reserved. This manual and any associated software, artwork, product designs, and design concepts are subject to copyright protection. No part of this document may be reproduced, in any form, without prior written permission of Universal Audio, Inc. Trademarks 4-710d, 710, Twin-Finity, 4110, 8110, SOLO/110, SOLO/610, 2-610, LA-610, LA-2A, 2-LA2, LA-3A, 6176, 1176LN, 2-1176, 2192, DCS Remote Preamp, UAD and the Universal Audio, Inc. logo are trademarks of Universal Audio, Inc. Other company and product names mentioned herein are trademarks of their respective companies FCC Compliance This device complies with Part 15 of the FCC Rules. Operation is subject to the following two conditions: (1) this device may not cause harmful interference, and (2) the device must accept any interference received, including interference that may cause undesired operation.
    [Show full text]
  • Model ST-PH1 Phono Preamplifier
    ® STICK-ON SERIES Model ST-PH1 Phono Preamplifier ANYWHERE YOU NEED A... · Stereo or Mono Phono Preamplifier. · Preamplifier with Balanced or Unbalanced Output · Preamplifier with Hi or Low-Impedance Output · Accurate, Low Noise Preamplification You Need The ST-PH1! The ST-PH1 is part of a group of products in the STICK-ON series from Radio Design Labs. The durable bottom adhesive permits quick, permanent or removable mounting nearly anywhere or it may be used with RDL’s STR-19A or STR-19B racking adapter for rack mounting! The ST-PH1 gives you the advantages of a high quality, low-noise phono preamplifier with a big plus, you can put it where you need it! The ST-PH1 is a stereophonic phono preamplifier. Each of the channel circuits is identical. The ST-PH1 has standard 47 kW impedance unbalanced phono cartridge inputs. Each output drives either a balanced or unbalanced line. Equalization follows the RIAA curve. The output is capable of driving into either high or low impedance loads. The output may be connected either balanced or unbalanced. The ST-PH1 features superior circuitry, which produces the unsurpassed pure clarity for which Radio Design Labs products are known! Some features are: · Input matched to standard cartridges used in the industry. · Impeccable audio quality. · Ultra-low distortion and noise. · Output levels adjustable (Independent adjustment for left and right channels). · Ample headroom at operating level. · Outputs short circuit protected. · Positive connections via barrier block, no audio connectors to wire. Although some equipment has phono inputs, optimum system performance is obtained when phonographs are preamplified as close to the turntable as possible, and then the line level signals are fed to the next piece of equipment in the chain.
    [Show full text]
  • V55 Di-Re-Preamplifier Loud Or Excessive Clicks Or Pops
    AVALON V55 QUICK SET-UP OPERATING GUIDE PHASE (switch) BOOST (+dB) TONE (shape) HI (switch) Reverses the polarity of Trims input gain Ten postion Passive HIGH ALL (3) input sources Line : -2dB to +38dB Passive Tone Bank™ cut filter Instrument : +2dB to +42dB 1-6 for music contour -3dB @ 3.7kHz SIGNAL Mic HiZ : +20dB to +60dB High pass filters eliminates noise Mic LoZ : +26dB to +66dB HF lift ~ LF cut and fret buzz Peak capture (scale calibrated for Mic LoZ) (see graphs) Bi-color LED Blue = 0dB POWER Red = +20dB Bi-color LED Blue = AC ON Red = +48v ON PAD (switch) Resistive attenuator for ALL (3) inputs TONE (switch) Line : -13dB Activates the Instrument : -10dB Passive Tone Bank™ Microphone : -15dB INPUT MODE INSTRUMENT V55 Dual Channel DI-RE-PREAMPLIFIER Selects INPUT source 1/4” unbalanced Line : XLR~1/4” TRS jack RTS phone jack METER Instrument : 1/4” TRS jack (front) 10 meg.ohm high-Z Professional VU meter Microphone HiZ & LoZ : XLR ideal for keyboards, -30dB to +18dB wide scale Mic LoZ + 48v phantom power ON synthesizers, drum machines, 0VU = 0dB = 0.775v RMS passive & active acoustic, V55 WHEN SWITCHING FROM LO-Z MIC INPUT TO bass and electric guitars LO-Z +48V (PHANTOM POWER) INPUT, ALWAYS MAKE SURE THE BOOST CONTROL Note: For best sonic performance, IS SET TO THE MINIMUM GAIN POSITION allow thirty minutes for warm-up. AND REDUCE MONITOR LEVEL TO AVOID V55 DI-RE-PREAMPLIFIER LOUD OR EXCESSIVE CLICKS OR POPS. www.avalondesign.com Avalon Design is a division of Avalon Industries, Inc.
    [Show full text]
  • The Lab Notebook
    Thomas Edison National Historical Park National Park Service U.S. Department of the Interior The Lab Notebook Upcoming Exhibits Will Focus on the Origins of Recorded Sound A new exhibit is coming soon to Building 5 that highlights the work of Thomas Edison’s predecessors in the effort to record sound. The exhibit, accompanied by a detailed web presentation, will explore the work of two French scientists who were pioneers in the field of acoustics. In 1857 Edouard-Léon Scott de Martinville invented what he called the phonautograph, a device that traced an image of speech on a glass coated with lampblack, producing a phonautogram. He later changed the recording apparatus to a rotating cylinder and joined with instrument makers to com- mercialize the device. A second Frenchman, Charles Cros, drew inspiration from the telephone and its pair of diaphragms—one that received the speaker’s voice and the second that reconstituted it for the listener. Cros suggested a means of driving a second diaphragm from the tracings of a phonauto- gram, thereby reproducing previously-recorded sound waves. In other words, he conceived of playing back recorded sound. His device was called a paléophone, although he never built one. Despite that, today the French celebrate Cros as the inventor of sound reproduction. Three replicas that will be on display. From left: Scott’s phonautograph, an Edison disc phonograph, and Edison’s 1877 phonograph. Conservation Continues at the Park Workers remove the light The Renova/PARS Environ- fixture outside the front mental Group surveys the door of the Glenmont chemicals in Edison’s desk and home.
    [Show full text]
  • Vinyl Theory
    Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3.
    [Show full text]
  • Twin-Servo™ Microphone Preamplifier
    RADIAL 500 SERIES smart sheet TWIN-SERVO™ MICROPHONE PREAMPLIFIER Order No. R700 0111 10 The Jensen Twin-Servo™ utilizes Deane Jensen’s iconic 990 op-amp design to deliver the most exceptional mic preamp built in the 500 series format. The circuitry boasts two 100% discrete 990 op-amps cascaded in tandem to deliver 60dB of gain, with incredibly low noise and phase distortion, and an ultra-wide 0.2Hz-150kHz frequency response. Jensen input and output transformers provide massive amounts of headroom, with clean and transparent operation suitable for the most critical recording applications. A 21-detent gain control makes for easy session recalls, with a 10-segment LED meter for accurate signal management. 48V phantom power, a 180° polarity reverse, high-pass fi lter and -15dB pad are also provided, all with individual LED indicators to verify settings at a glance. When it comes to high performance mic preamps, nothing beats the Jensen Twin-Servo. OMNIPORT - When used with a Radial Workhorse power rack the omniport is assigned as a unbalanced 220K ohm instrument input. FEATURES 10 SEGMENT METER - Custom designed circuit for greater VU meter accuracy. • Ultra-low noise preamp with over 60dB of gain • Built in high-pass fi lter and 180° polarity reverse DUAL-GANG POT - Simultaneously controls the dual 990 op- amp topology for optimal gain at all levels. • Dual Jensen transformers for maximum head- room 180° - Inverts pins 2 and 3 at the output to help phase align microphones when two channels are in stereo use. APPLICATIONS HPF - Gentle high-pass fi lter may be inserted into the signal • Perfect for recording any source path to reduce excessive low frequency content and control • Transparent and detailed operation resonance.
    [Show full text]
  • Chapter 186 NOISE
    Chapter 186 NOISE §186-1. Loud and unnecessary noise §186-3. Permits for amplifying devices. prohibited. §186-4. Stationary noise limits; maximum §186-2. Loud and unnecessary noises permissible sound levels. enumerated. §186-5. Violations and penalties. [HISTORY: Adopted by the Village Board of the Village of Albany 5-11-1992 as Sec. 11-2- 7 of the 1992 Code. Amendments noted where applicable.] GENERAL REFERENCES Disorderly conduct -- See Ch. 110. Parks and navigable waters -- See Ch. 198, §198-1B(2). Peace and good order -- See Ch. 202. §186-1. Loud and unnecessary noise prohibited. It shall be unlawful for any person to make, continue or cause to be made or continued any loud and unnecessary noise. It shall be unlawful for any person knowingly or wantonly to use or operate, or to cause to be used or operated, any mechanical device, machine, apparatus or instrument for intensification or amplification of the human voice or any sound or noise in any public or private place in such manner that the peace and good order of the neighborhood is disturbed or that persons owning, using or occupying property in the neighborhood are disturbed or annoyed. §186-2. Loud and unnecessary noises enumerated. The following acts are declared to be loud, disturbing and unnecessary noises in violation of this chapter, but this enumeration shall not be deemed to be exclusive: A. Horns; signaling devices. The sounding of any horn or signaling device on any automobile, motorcycle or other vehicle on any street or public place in the village for longer than three seconds in any period of one minute or less, except as a danger warning; the creation of any unreasonable loud or harsh sound by means of any signaling device and the sounding of any plainly audible device for an unreasonable period of time; the use of any signaling device except one operated by hand or electricity; the use of any horn, whistle or other device operated by engine exhaust and the use of any signaling device when traffic is for any reason held up.
    [Show full text]
  • Front of H Ouse M Ixing Consoles
    Front of House Mixing Consoles Mixing House of Front 4 BUS MIXING CONSOLE WITH USB I/O & 24BIT DIGITAL EFFECTS Safety Instructions/Consignes de sécurité/Sicherheitsvorkehrungen WARNING: To reduce the risk of fire or electric shock, do not expose this unit to rain or moisture. To reduce the hazard of electrical shock, do not remove cover or back. No user serviceable parts inside. Please refer all servicing to qualified personnel.The lightning flash with an arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated "dangerous voltage" within the products enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product. Important Safety Instructions 1. Please read all instructions before operating the unit. 2. Keep these instructions for future reference. 3. Please heed all safety warnings. 4. Follow manufacturers instructions. 5. Do not use this unit near water or moisture. 6. Clean only with a damp cloth. 7. Do not block any of the ventilation openings. Install in accordance with the manufacturers instructions. 8. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat. 9. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong.
    [Show full text]
  • PR-101 STEREO PREAMPLIFIER Headphone Amp ASSEMBLY MANUAL
    PR-101 STEREO PREAMPLIFIER Headphone Amp ASSEMBLY MANUAL © 2015-2017 AkitikA LLC All rights reserved Revision 1p10 February 22, 2017 Page 1 of 21 Table of Contents Table of Contents ................................................................................................................ 2 Table of Figures .................................................................................................................. 3 Section 1: About This Manual ............................................................................................ 4 Who Should Attempt this Project? ................................................................................. 4 Tools you’ll need ............................................................................................................ 4 Helpful Tools .................................................................................................................. 4 Project Overview ............................................................................................................ 4 Important Safety Notes ................................................................................................... 5 About Components ......................................................................................................... 5 Recommended Solder ..................................................................................................... 5 Warranty ........................................................................................................................
    [Show full text]
  • To: American Library Association ALCTS/CCS Committee on Cataloging: Description and Access From: Music Library Association Bibli
    CC:DA/MLA/2002/2 August 22, 2002 page 1 To: American Library Association ALCTS/CCS Committee on Cataloging: Description and Access From: Music Library Association Bibliographic Control Committee Subcommittee on Descriptive Cataloging Re: 4JSC/CCC/6: Expanded response to 4JSC/CCC/6 & Rule revision proposal for 6.5B to include optional conventional term qualifiers The Subcommittee on Descriptive Cataloging and the Bibliographic Control Committee of the Music Library Association have given consideration to the CCC proposal to revise 6.5B1 to record the specific format of the physical carrier using conventional terminology as the base rule and the current instructions as the option. Our initial comments were presented in an earlier document. This is a slightly expanded version, which includes our response to 4JSC/CCC/6 and lays out our counter-proposal in its entirety. Part I: Response to 4JSC/CCC/6 MLA adamantly opposes the CCC proposal as it currently stands. While we agree there is a benefit in introducing the possibility of more flexible terminology in Area 5, we strongly disagree with the suggested revisions. Our main reasons, with short discussion, follow. 1. Lack of adequate justification for the rule change The chief reason for this proposal, consistency of rules across formats, is inadequate justification for the magnitude of the proposed change and its consequences. Changing the rules of one chapter (or more) simply to parallel the rules of a different, unrelated chapter is flawed reasoning in and of itself, much less sufficient grounds for such a major revision. If we were to follow this logic, we would also need to introduce a rule revision for Chapter 2, so that the physical description could state “1 book” or “1 duodecimo.” The further justifying statement that the “revision will allow for greater flexibility, the provision of more meaningful information for end-users and the accommodation of information pertaining to new and emerging formats” is only partially correct.
    [Show full text]
  • Evaluation of Sound Quality of High Resolution Audio
    Proceedings of the 1st IEEE/IIAE International Conference on Intelligent Systems and Image Processing 2013 Evaluation of Sound Quality of High Resolution Audio Naoto Kanetadaa,*, Ryuta Yamamotob, Mitsunori Mizumachi aKyushu Institute of Technology,1-1 Sensui-cho, Tobata-ku, Kitakyushu 804-8550, Japan bDigifusion Japan Co.,Ltd 1-1-68 Futabanosato Higashi-ku Hirosima,7320057 Japan *Corresponding Author: [email protected] Abstract 1. Introduction High resolution audio (HRA), which is recorded in the digital audio format with high sound quality, appears on the In recent years, high resolution audio (HRA), which is audio market. HRA has the quality equal to or better than sampled at 96 kHz or 192 kHz with 24 bits accuracy, is the standard compact disc (CD), and is distributed as the becoming popular in the audio market. HRA is super audio CD (SACD), DVD-audio, Blue-ray audio, and commercially distributed as the lossless encoded file via the a data file through the internet. In this paper, sound quality internet, and is also available in the Blu-ray audio disc. of HRA is investigated in the view point of auditory Compact disc (CD) and lossy compression such as MPEG perception. Perceptual characteristics of HRA have been Audio Layer-3 (MP3) are the current major audio formats examined by listening tests as compared with the standard as the storage medium and the data file, respectively. As a audio CD and the compressed MPEG audio layer-3 (MP3) memory capacity increases and a wide communication qualities. The listening tests were carried out by the method network spreads out, HRA must be increasingly popular.
    [Show full text]