Most of the topics that enthusiasts talk about are nothing more than music. From their own artillery to the value-for-money guns and guns, there is no shortage of hearsay, people are clouds. After the war of words, it is inevitable to come to a "big competition". Pure equipment enthusiasts are even worse. Their energy is concentrated on the performance and upgrading of the equipment. The music is almost "inaudible", only listening to the sound, not knowing how to play it, Beethoven or Jacky Cheung. Still boring effect test. In particular, the folk artillery enthusiasts always expect their works to have superior performance after deliberation and action, to confirm that there is no white flow of sweat. As for the friends who spend money to buy equipment, it is necessary to confirm whether the machine that has been exchanged for a large amount of money is worth the money. So how do you judge the level of a system? Is there a ruler in your heart? Is this a very real problem? It is ridiculous that some friends have turned the left and right channels and even the phase but they are completely ignorant. They also talk about how the sound quality is moving and how far the sound field is far-reaching. Therefore, I feel that the level of appreciation of enthusiasts needs to be improved. It should be based on basic skills and cannot be far-reaching.
There are countless times about the definition of Hi-Fi in books and magazines, so I won't go into details here. In fact, different manufacturers in different countries have their minimum requirements for electro-acoustic indicators of Hi-Fi equipment, and China's "national standard" also has corresponding regulations. Therefore, strictly speaking, no matter how loud your equipment is, you can't call it Hi-Fi without good electro-acoustic indicators. In fact, systems that do not have high electro-acoustic indicators can only appeal to the audience in some respects. To give an obvious example of the vocal performance of vocals and strings can be described as its expertise, but some Hi-End amp measurements show that its harmonic distortion is not low, and some can reach 1%, has reached the horn distortion rate Order of magnitude. The signal-to-noise ratio is low, the conversion speed is slow, and the power is small. The power of the single-tube CARY CAD-300SEI of the Hi-End class in the United States is ten watts, and its application range is greatly limited.
Nowadays, Hi-Fi is not strictly speaking, but relatively speaking. You can't see desktop recorders and Walkmans that are labeled with the Hi-Fi logo. Generally, enthusiasts are not likely to test equipment in the absence of instruments. Therefore, they are all assessed by subjective sense of hearing. Because of their different preferences, the results must be subjective.
From my personal fever guidelines, I require a Hi-Fi playback system to faithfully reproduce all the information recorded by the recording software. What I emphasize here is to faithfully reproduce the information in the software instead of reproducing the live effect in the original article. This is based on the premise that the software records the original effect of the original sweat. So I want to separate Hi-Fi recording and Hi-Fi playback equipment because:
1. General enthusiasts cannot involve the recording process.
2, Hi-Fi recording does not necessarily have a live effect.
For the same live performance, different sound engineers must have different recording effects. Because of the differences in recording equipment, recording systems, and mixing techniques, they also contain subjective ingredients. So if you let a band play twice repeatedly, and ask two sound engineers to record two records with their own equipment and their own way, then in terms of instrument positioning, sound field depth, sound balance, reverberation, etc. They may all have different performances. Who can say that his recordings are original? Even the live audience of the concert is far from the stage. Especially in the recording of popular music and electronic music, in most cases there is no "live" (except for live recording LIVERECORDING). In the multi-channel simultaneous or staging recording of modern music, each instrument or group of instruments is in the anechoic chamber. Separate at the same time or in sequence and then downmix. The use of MIDI (MUSICAL INSTRUMENT DIGITAL INTERFERENCE) technology enables the recording of a variety of electronic musical instruments to be carried out by wires without using the MIC. What is the "live"?
I think that in Hi-Fi playback, the live effect should be a sound environment created by the sound engineer, which may be very close to the real scene, or there may be no real scene at all.
How does the live effect make you feel it?
I want the replay effect to have the following conditions:
1) The realism of the musical instrument (vocal) sound;
2) Clear positioning and a sense of space;
3) Appropriate reverberation;
4) high signal to noise ratio;
5) a sufficiently large dynamic range;
6) Balanced sound ratio.
These six aspects are actually a summary of the various adjectives commonly used by enthusiasts.
A good music software should have the above characteristics. If the replay system has these features when replaying software, we call it Hi-Fi, and vice versa.
Experienced people, and must be experienced people, as long as there is a pair of normal ears can judge its pros and cons. This kind of person is the "golden ear" we often talk about. I think "golden ear" does not mean that the ear is particularly sensitive. I believe that most people's hearing function is similar. This ability comes from experience, if it is an instrument. The sound of your voice is ingrained in your mind, so its subtle changes will attract your attention. Imagine a person who knows nothing about the music to judge a system. At best, it can only be said that it is not good, but it is not good to Hi-Fi, because there may be "MSG."
Sharpening the knife without cutting the firewood
As for the choice of test software, I also want to talk about my experience. Needless to say, choose Hi-Fi recording software. Selective selection of the right software will help to quickly, truthfully and comprehensively reflect the quality of the equipment. From my personal point of view, the principles chosen are:
1 Recording with a natural instrument (ACOUSTIC INXTRUMENT) without electronic music software. Electronic musical instruments are generally recorded by cable. The sound image, reverb, and tone are set by the synthesizer or computer, and do not represent the real situation. The sound of electronic musical instruments is ever-changing and unpredictable. It is impossible to compare with the real situation. The distorted system sometimes plays back electronic music. Electronic synthesizers can create special effects, such as bursting, wrapping, etc., which will please the audience, but will make people's judgments bias, so it is not enough to evaluate Hi-Fi.
For the above reasons, I rarely use the electronic Beethoven "BEETHOVEN IN BUST" or "BREATHLESS" as the audition disc. It is worth mentioning that the accompaniment in "BREATHLESS" is obvious, and the sense of hearing is far from the "LIVE".
2 Don't use music clips that you particularly like. For the wonderful clips, the energy is easily attracted by the beautiful melody, and will not concentrate on distinguishing the changes in the sound quality, and the emotions are easy to be intoxicated, even if the sound quality is not perfect, the moving music will make you move. And the joy of the shape, especially the music party's enthusiasts.
3 Choose three types of music, orchestral, solo, violin solo. Orchestral music can be said to be the most severe test. The analytical power, positioning and dynamic range of the equipment can be fully reflected. Due to its complex structure and wide dynamics, it is the most difficult to obtain perfect playback effect.
For example, the low-range sound of the cello and double bass in the band can measure the resolution of the system's low frequency, the superior bass is full, and there is a sense of contour, graininess, and the string is still not lost. The clarity and intensity of the timpani sound can measure the low-frequency transient response and control of the equipment (especially the speakers). The climax of the music, the sound pressure level of the entire band can reach 100Db, which is a severe test for the dynamic range of the system and the linearity at high level.
The recordings of solo and violin solo works are recorded in close range, which can get clear sound, and the sound and texture of the two are familiar to people. It is easy to distinguish between right and wrong. It is an important means to test the high-frequency permeability in the system. The treble percussion instrument is more convincing.
Some friends may ask, why use a very awkward recording software when evaluating a system? If a Low-Fi record is played, as long as the system replays as bad as it is, is this system not Hi-Fi? The answer is yes, but can you tell them that they are just as bad? Imagine the following two situations: one is to know a straight line or an approximate straight line, which is used as a reference to determine whether another line is consistent with it; the other is that a cluttered curve is known, which is easier. The answer is self-evident.
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