Fig.7 Sony ES SS-M9ED, vertical response family at 50", normalized to response on tweeter axis, from back…
search
The same wide dispersion is also seen in the vertical plane (fig.7), though the on-axis peak above 20kHz drops back above and below the main tweeter axis. As the crossover between the tweeter and supertweeter is set at 22kHz, perhaps what we're seeing here is evidence that this crossover is optimized for the best integration slightly below the main axis. This is sensible, given that that axis is 39" from the floor when the speaker is fitted with its carpet-piercing spikes.
The end of two audiophiles' friendship:
"How do those new loudspeakers sound?"
"I don't know. Let me put a disc in the CD player and we'll listen."
"But how do you know what the CD should sound like?"
"I assume it's supposed to sound like the instruments and voices would sound in real life; the absolute sound, if you wish."
"But you don't know if that's appropriate. Recording engineers have an arsenal of special-effects boxes and signal processors at their disposal. And as you can see from Peter Mitchell's "Industry Update" column in this issue of…
Assembling the master tape
Like many CDs, all the editing on this disc was performed electronically in the digital domain. Unlike most CDs, however, Stereophile's Test CD (footnote 1) was edited and assembled on a Macintosh IIx computer. Instead of transferring digital audio data from one tape to another through an editor, as in conventional digital editing, this project was assembled on a computer hard disk attached to my Macintosh. Hard-disk-based editing is creating a revolution in professional audio. These systems may one day be as common in recording studios and mastering…
Like many CDs, all the editing on this disc was performed electronically in the digital domain. Unlike most CDs, however, Stereophile's Test CD (footnote 1) was edited and assembled on a Macintosh IIx computer. Instead of transferring digital audio data from one tape to another through an editor, as in conventional digital editing, this project was assembled on a computer hard disk attached to my Macintosh. Hard-disk-based editing is creating a revolution in professional audio. These systems may one day be as common in recording studios and mastering…
Peter Mitchell's organ recording had been digitized with a modified Sony PCM-F1-format processor. Rather than go back to the original master tape, I recorded the digital datastream from a Madrigal Proceed CD player directly onto the hard disk. Since Sound Tools accepts the S/PDIF output signal found on most CD players, direct digital-to-digital transfers are possible.
After about half the total program was assembled in the playlist, it was transferred, in the digital domain, through the DAT I/O back to the Nakamichi 1000. We had originally thought the Stereophile Test CD would be about…
Track information, Tracks 1-4
[1] Reference Tone (DDD) 1:21
1kHz sinewave tone at -20dB, L+R, with a spoken introduction by Sam Tellig (The Audio Anarchist)
[2] Channel Identification (DDD) 0:26
Left, then Right, with Sam Tellig and Ralph the Christmas Dog
[3] Channel Phasing (DDD) 0:39
In-phase, then out-of-phase, with Sam Tellig and Ralph the Christmas Dog
[4] Pink Noise at -20dB (DDD) 2:15
Correlated between channels, then uncorrelated from 1:11