Here, I would like to explain the two sets of adjectives: "physical sense" and "cohesion formation"; and "space sense" and "description". After explaining the two groups of adjectives, you can easily understand the acousto-form, the sense of reality, and the sound field you can see. Usually, when we listen to music, we will certainly hear the sound of the instruments, which are floating in the air and have no form. However, under certain conditions, these floating sounds, which have no form, will condense and make people hear clearly. It is as clear that they can see the instruments played with their eyes. This is the result of the sound being formed by condensation. The sense of physicality.
Then, what is the sense of space? What does it have to do with depiction? In the concert hall or recording space, we will feel the space in our minds by hearing the reflected sounds from the various reflective walls (or the reflected sounds made by the recording equipment). That is the space. sense. Can the sense of space be portrayed like a painting? If the sense of space you reproduce is true enough, it will be as clear as painting. On the contrary, of course, there is nothing but ethereal, seemingly nothing.
Seeing this, I think you may start asking questions: Is it important to "see" the sound field when listening to music? To be fair, for the average person, I don't think I must see the sound field when listening to music. However, for those who use Hi End spirit as their duty, and always keep on pursuing the highest level of audio Hi End (no matter the price of equipment, always pursue the highest performance), if you can see the sound field, I believe it will be for them. Add a lot of fun to listen. The joy of these rides is like the pursuit of speed by the car owners, the taste of the food is not easy to eat, not only addictive, but also enjoy it.
The reason why the sound field cannot be formed by condensation
If you see this and sneer at the above remarks, then don't continue to read it. If you are the Hi End family in my mouth, we can start to get to the point: Why is my sound field just illusory, lacking physical sense? There are several reasons why the sound field cannot be agglomerated. First, the distance between the listening position and the speaker is not appropriate. Second, the volume is not big enough. Third, the environmental noise is too much. Fourth, the details of the entire sound system are not enough. Of the four items, except for the first one, the other three are actually related to "details." How to say? If the volume is too small, you may not hear enough details. If the ambient noise is too much, it will cover up the original details. The details of the whole system are not enough. Of course, the details on the source are not enough.
So why do you "see" the sound field? The most basic reason can be concentrated into two. One is that the distance between the listening position and the horn is not appropriate, and the other is that the details heard by the ear are not enough. Ok, let's first discuss the first reason!
It is not appropriate to listen to the distance between the position and the speaker. <br> Remember the "Eight Speakers Eight Ways" that I advocate? Of course, there are only eight ways to arrange the speakers, but for the convenience of the audio fans, I have summarized them into eight methods. Among the eight methods, there is inevitably a relationship between the speaker and the listening position. In my long-term experience, I found that if you only want to find a vague sound field, then the listening position in the eight methods can achieve this purpose. However, if you want a sound field with a sense of solidity and agglomeration, you need to go further and carefully. In other words, the horn placement method is a rough work. It can only get a sound field that is not enough. The sound field is "look", it is just "listening".
Why do you have to carefully fine tune the relationship between the speaker and the listening position to see the sound field? This is going back to the "fundamental surface" formed by the sound field. How is the sound field formed? It is a mixture of direct and indirect sounds after the sound waves emitted by the speakers are reflected in the four walls of the space, the ceiling and the floor. This mixture of direct and indirect sounds also includes different time differences (the time difference between the direct and indirect sounds and the time difference between the six walls), which is the illusion of a sound in the brain after these things are transmitted to the ear. . When the illusion is clearer, the visual effect produced by the auditory influence is naturally generated in the brain. So, we "see" the sound field.
The hard part is that the mixed reflection that allows us to produce a visual experience is not at your fingertips, it only occurs at a subtle point of integration. In other words, if your listening position and speaker position are not exactly at a certain point in space, the illusion caused by the reflection of sound waves will not happen, which is why I am bitterly asking readers to put more in the horn. The reason for working hard.
In this case, how do you make the most appropriate fine-tuning of the relationship between the speakers and the listening position? Is there any rule to follow for this fine tuning? Honestly, your only rule is to patiently and carefully repeat the horn placement and change the listening position to find the most appropriate point.
The details that the ear hears are not enough. After finding the most appropriate point (the position of the speaker and the seat), if there is not enough detail, the sound field is still "seeing" and can only be heard. Why is the detail so important? Because the sense of physicality and space of the instrument is like the whole puzzle, it turns out to be blank. It is to slowly piece out the complete picture by hundreds of thousands of small pieces (details). If the details are not enough, it means that the puzzle is incomplete, so that the sound field can only be "listen" and "look". Here I give an example: When we listen to the violin, if there are not enough vibration details of the piano board, the friction details of the bow and the strings, the texture of the violin will not come out, and the sound will not be like it. Similarly, when listening to the piano, if the details of the string vibration are not enough after touching the key, the piano sound is not enough. These "images and not like" are actually related to the details.
How do the real details not only exist in the mid-to-high frequency band to add detail? First, the ambient noise is reduced as much as possible, and then the volume is turned to the appropriate loud place. Finally, of course, the audio equipment that can send enough details is selected. It is important to remind you that the amount of detail has nothing to do with the heat of the medium or high frequency band or the high frequency band. Some people mistakenly believe that the bulging of the high-frequency and high-frequency bands is more details, which is wrong. The real rich detail is in every frequency band, not just the mid-high or high frequency bands. Furthermore, the softer and darker sound features do not detract from the details. As long as the environment is good enough and the equipment is good enough, the feminine and detailed details will be closer to the performance of the concert hall. For an audio fan who has experience with sound and is skilled in music, the melodic and detailed sound field performance is absolutely necessary. Do you think your own sound field is performing well? Or do you think you already have a "sound field"? Maybe you really have it; maybe I will say that this is just an ethereal sound field. In any case, if you want to let your music enjoy the next level of play; if you are a never-ending Hi-End, you may wish to check your performance again!
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