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Another physical aspect indicating or
‘’illuminating’’ why the R1 is producing an enhancement of some
components (loudness – at least) of the excited acoustical field is the
notion of radiosity, see from
Radiosity1
: ‘’The radiosity
technique, involving the transfer of energy between diffusely reflecting
subsections of its surfaces, has been used to predict all or part of a
room’s acoustical response. However, especially in the light of the
inherent assumption of diffuse reflection, there is a need to establish
the applicability of the method; this was the objective of the work
reported here. A radiosity algorithm for rectangular rooms was
developed. Measurements were made of impulse responses in a three rooms
with different size and distributions of absorption.
From these relevant room-acoustical
quantities – such as steady-state levels, reverberation times,
early-to-late energy fractions – were calculated in octave bands. These
were compared to radiosity predictions done for each room using
physically-plausible input parameter values, in order to evaluate the
applicability of the method. In its simplest from, the one that will be
used in computer radiosity simulation techniques, radiosity assumes that
all surfaces in the room are diffuse reflectors''. That is a paradox
because [except fortunate situations occurring in big and very big rooms
where a kind of natural diffusion appears] without real and installed
proper sound diffusers such diffused fields are difficult /impossible to
be obtained. Reading again from [ radiosity1.pdf] :’’ radiosity tends to
“smear” energy in time, so that reflections arrive at the receiver
position much more consistently and uniformly''.
This [again, our note] can be
explained by the assumption of diffuse reflection used in radiosity. ’’
If the walls of the rooms studied here were not perfectly diffusely
reflecting, this could explain differences between measurement and
prediction. Smearing tends to spread some of the early energy to later
energy, which may explain why predicted C50 levels tended to be lower
than measured (that the amount by which some C50 predictions were lower
than measured values is still of some concern). The underestimation of
reverberation times was somewhat surprising and remains to be
analyzed’’. The radiosity techniques takes the average intensity of the
energy radiated by small patches [discretizing the room’s interior
surface into patches]. It is considered that the source radiates energy
to each of the patches that are subsequently treated as secondary
sources.
Speaking in terms of energy, we must
be careful enough on this because energy [ at a specific surface point
and time period] contains part of the music’s dynamics and also [music]
energy is following the local room resonances which is not at all a
static phenomenon. So the theoretical ‘’slices’’ of energy taken and
then reintegrated as a whole may contain overshooted sound information [
that’s It-a psychoacoustical term indicating an accumulation of
sensations from multiple causes – masking – specifically ] in fact
distortion / interferences in this context and ‘’errors’’ in a computer
way of speaking. That’s why one thing are the virtual /aural simulations
and enough different are real live situations.
Don’t forget that our ears are still and perhaps will be forever the
most performing spectrum analyzer available.
That’s why the Roundffusor1, if
thinking in terms of radiosity, ‘’takes’’ into account the source/s
loudness or the ‘’local’’ loudness if you prefer, and reradiates the
energy by the very powerful diffused field which this unique material is
producing. The announced 1,5-2 dB of loudness enhancement, viewed in
terms of radiosity is a perceptual quantity meaning simply enhancement
and not absorption surely related with a an energy loss and of course
related to the intelligibility loss. More , when using our R1 , the
loudness values at both ears is not head position dependent and more,
not body dependent position in the room.
The Roundffusor1 , in some way,
encodes the sources information and the included delays and our hearing
is followed by this information almost anywhere in the room , as a
hologram at each moment and the next moment contains a small part from
the previous one [ as a legato] and the next dynamical spectrum, music
being a continuous flow of information. There is a consistency in the
way that each ‘’patch’’ representing one Roundffusor1 is adding his
‘’valued support’’ to the overall effect produced by the grouped R1.
There is an another aspect
regarding the masking produced by the low frequency (discussed in this
site at
The low frequency problems
and our unique solution)
and is more, an
''intellectual'' one: '' There is another well-known
effect of the old-plus-new heuristic: it is called apparent continuity,
auditory induction, or the continuity illusion. It occurs when a short
part of a sound or sequence of sounds is removed and a louder masking
sound inserted in its place. Under certain conditions, the listener
hears the original sound continue through the loud interruption. This
phenomenon is not an illusion.
The sound that
is "restored" is actually present in the masking sound. The latter is
called a masking sound because it would have masked the original sound
had it really been there. However, in order to mask it, the same neural
activity that would normally have been instigated by the original sound
would have had to be present as part of the activity instigated by the
masker. Therefore the original sound, or at least its neural effect, is
there, but in the same sense that a statue is present in an uncut stone.
One could say that the rest of the stone was masking the statue if one
chose to. In the auditory case, the presence of the undisguised signal,
before and after the masker, allows the perceptual system to carve out a
portion of the neural stimulation to act as a continuation of the
signal''. From "Using brief glimpses to decompose mixtures" by A.S.
Bregman. *** But the
research shown there used just multiple tones
and less music...
More [from elsewhere], cconsidering
that there are around 100,000 cells below a square millimeter of cortex,
the potential representational capacity of any one cortical region is
enormous. Just remember the Plato and Aristotle ideas about finding
answers to anything just by deep thinking, it is logically that [at
least in the human range of acoustical phenomena ] our senses and
intuition are by far away more powerful than any audio analyzer and
corroborates data in a more intimate way than any computer. It was found
that microsecond differences in the arrival time of a sound at the two
ears (interaural time differences, ITDs) are the main cue for localizing
low-frequency sounds in space. This means that this kind of location is
a subclass of another phenomena (the precedence effect being into the
milliseconds zone and not in the microseconds one) so subtle is our
hearing system.
Here,
speaking about R1, it is sure that our device is an answer in a
practical way, to all this details, not easy to be analysed and until
now impossible to be calmed just by a single passive device (not being
electrically powered); is surely step forward
in acoustics.The design and the excellent results of using
the Roundffusor1 is not [only] a question of money.
Is much more: an important
cultural step helping people who love music, any kind of music, to
return to their hobby before is too late.
In other words this means that your
listening or home cinema room doesn't need to look like a recording
studio or an architecturally, aesthetically & heavy absorption charged
villa's suite, which may be the road to indulge ourselves in a little
bit or more luxury, but surely not the way to the ideal sound.
In a
room treated with ONLY 9 or 12 Roundffusor1, you will feel as being in
your usual room without any of the previous problems, your speaking and
hearing will be naturally perceived. Could it be that the Holy Grail of
all interior
architectural acoustics
has been found? In fact, I didn't invented the cheap water working
engine or the perpetuum mobile, but I have all the human reasons to be
proud!
WHAT IS CERTAIN: A NEW OBJECT
HAS BEEN INVENTED TO RETURN THE PLEASURE OF LISTENING TO MUSIC.
Just think or accept the
difference !
So, the superposition principle, the psychoacoustical plethora of
phenomena along with cortex's hearing activity analysis, radiosity
ideas, the R1's low frequency adaptive absorption, must be putted
together in order to have an unified elegant explanation on the huge
roundffusor1's characteristics. More on '' Roundffusor1 ''
from the site 's menu.
More about sound quality and taste
are excerpted
from David Hume’s 1757 essay,
“Of
the Standard of Taste,” as edited by
Julie Van Camp.
'' The great
variety of Taste, as well as of opinion, which prevails in the
world, is too obvious not to have fallen under every one's
observation. Men of the most confined knowledge are able to remark a
difference of taste in the narrow circle of their acquaintance, even
where the persons have been educated under the same government, and
have early imbibed the same prejudices. But those, who can enlarge
their view to contemplate distant nations and remote ages, are still
more surprised at the great inconsistence and contrariety. We are
apt to call barbarous whatever departs widely from
our own taste and apprehension:
But soon find the epithet of reproach retorted on us. And the
highest arrogance and self-conceit is at last startled, on observing
an equal assurance on all sides, and scruples, amidst such a contest
of sentiment, to pronounce positively in its own favour.
... But though
there be naturally a wide difference in point of delicacy between
one person and another, nothing tends further to increase and
improve this talent, than practice in a particular art, and the
frequent survey or contemplation of a particular species of beauty.
When objects of any kind are first presented to the eye or
imagination, the sentiment, which attends them, is obscure and
confused; and the mind is, in a great measure, incapable of
pronouncing concerning their merits or defects. The taste cannot
perceive the several excellences of the performance; much less
distinguish the particular character of each excellency, and
ascertain its quality and degree. If it pronounce the whole in
general to be beautiful or deformed, it is the utmost that can be
expected; and even this judgment, a person, so unpracticed, will be
apt to deliver with great hesitation and reserve.
But allow him
to acquire experience in those objects, his feeling becomes more
exact and nice: He not only perceives the beauties and defects of
each part, but marks the distinguishing species of each quality, and
assigns it suitable praise or blame. A clear and distinct sentiment
attends him through the whole survey of the objects; and he discerns
that very degree and kind of approbation or displeasure, which each
part is naturally fitted to produce. The mist dissipates, which
seemed formerly to hang over the object: the organ acquires greater
perfection in its operations; and can pronounce, without danger of
mistake, concerning the merits of every performance. In a word, the
same address and dexterity, which practice gives to the execution of
any work, is also acquired by the same means in the judging of it.
So
advantageous is practice to the discernment of beauty, that, before
we can give judgment of any work of importance, it will even be
requisite, that that very individual performance be more than once
perused by us, and be surveyed in different lights with attention
and deliberation. There is a flutter or hurry of thought which
attends the first perusal of any piece, and which confounds the
genuine sentiment of beauty. The relation of the parts is not
discerned: The true characters of style are little distinguished:
The several perfections and defects seem wrapped up in a species of
confusion, and present themselves indistinctly to the imagination.
Not to mention, that there is a species of beauty, which, as it is
florid and superficial, pleases at first; but being found
incompatible with a just expression either of reason or passion,
soon palls upon the taste, and is then rejected with disdain, at
least rated at a much lower value.
It is
impossible to continue in the practice of contemplating any order of
beauty, without being frequently obliged to form comparisons between
the several species and degrees of excellence, and estimating their
proportion to each other. A man, who has had no opportunity of
comparing the different kinds of beauty, is indeed totally
unqualified to pronounce an opinion with regard to any object
presented to him. By comparison alone we fix the epithets of praise
or blame, and learn how to assign the due degree of each. The
coarsest daubing contains a certain lustre of colours and highest
admiration. The most vulgar ballads are not entirely destitute of
harmony or nature; and none but a person, familiarized to superior
beauties, would pronounce their numbers harsh, or narration
uninteresting.
A great
inferiority of beauty gives pain to a person conversant in the
highest excellence of the kind, and is for that reason pronounced a
deformity: As the most finished object, with which we are
acquainted, is naturally supposed to have reached the pinnacle of
perfection, and to be entitled to the highest applause. One
accustomed to see, and examine, and weigh the several performances,
admired in different ages and nations, can only rate the merits of a
work exhibited to his view, and assign its proper rank among the
productions of genius. But to enable a critic the more fully to
execute this undertaking, he must preserve his mind free from all
prejudice, and allow nothing to enter into his consideration, but
the very object which is submitted to his examination. We may
observe, that every work of art, in order to produce its due effect
on the mind, must be surveyed in a certain point of view, and not be
fully relished by persons, whose situation, real or imaginary, is
not conformable to that which is required by the performance.
An orator
addresses himself to a particular audience, and must have a regard
to their particular genius, interests, opinions, passions, and
prejudices; otherwise he hopes in vain to govern their resolutions,
and inflame their affections. Should they even have entertained some
prepossessions against him, however unreasonable, he must not
overlook this disadvantage; but, before he enters upon the subject,
must endeavour to conciliate their affection, and acquire their good
graces. A critic of a different age or notion, who should peruse
this discourse, must have all these circumstances in his eye, and
must place himself in the same situation as the audience, in order
to form a true judgment of the oration. In like manner, when any
work is addressed to the public, though I should have a friendship
or enmity with the author, I must depart from this situation; and
considering myself as a man in general, forget, if possible, my
individual being and my peculiar circumstances.
A person
influenced by prejudice, complies not with this condition; but
obstinately maintains his natural position, without placing himself
in that point of view, which the performance supposes. If the work
be addressed to persons of a different age or nation, he makes no
allowance for their peculiar views and prejudices; but, full of the
manners of his own age and country, rashly condemns what seemed
admirable in the eyes of those for whom alone the discourse was
calculated. If the work be executed for the public, he never
sufficiently enlarges his comprehension, or forgets his interest as
a friend or enemy, as a rival or commentator. By this means, his
sentiments are perverted; nor have the same beauties and blemishes
the same influence upon him, as if he had imposed a proper violence
on his imagination, and had forgotten himself for a moment. So far
his taste evidently departs from the true standard; and of
consequence loses all credit and authority.
It is well
known, that in all questions, submitted to the understanding,
prejudice is destructive of sound judgment, and perverts all
operations of the intellectual faculties: It is no less contrary to
good taste; nor has it less influence to corrupt our sentiment of
beauty. It belongs to good sense to check its influence in both
cases; and in this respect, as well as in many others, reason, if
not an essential part of taste, is at least requisite to the
operations of this latter faculty. In all the nobler productions of
genius, there is a mutual relation and correspondence of parts; nor
can either the beauties or blemishes be perceived by him, whose
thought is not capacious enough to comprehend all those parts, and
compare then with each other, in order to perceive the consistence
and uniformity of the whole. Every work of art has also a certain
end or purpose, for which it is calculated; and is to be deemed more
or less perfect, as it is more or less fitted to attain this end.
The object of
eloquence is to persuade, of history to instruct, of poetry to
please by means of the passions and the imagination. These ends we
must carry constantly in our view, when we peruse any performance;
and we must be able to judge how far the means employed are adapted
to their respective purposes. Besides, every kind of composition,
even the most poetical, is nothing but a chain of propositions and
reasonings; not always, indeed, the justest and most exact, but
still plausible and specious, however disguised by the colouring of
the imagination.
The persons
introduced in tragedy and epic poetry, must be represented as
reasoning, and thinking, and concluding, and acting, suitably to
their character and circumstances; and without judgment, as well as
taste and invention, a poet can never hope to succeed in so delicate
an undertaking. Not to mention, that the same excellence of
faculties which contributes to the improvement of reason, the same
clearness of conception, the same exactness of distinction, the same
vivacity of apprehension, are essential to the operations of true
taste, and are its infallible concomitants. It seldom, or never
happens, that a man of sense, who has experience in any art, cannot
judge of its beauty; and it is no less rare to meet with a man who
has a just taste without a sound understanding.
Thus, though
the principles of taste be universal, and, nearly, if not entirely
the same in all men; yet few are qualified to give judgment on any
work of art, or establish their own sentiment as the standard of
beauty. The organs of internal sensation are seldom so perfect as to
allow the general principles their full play, and produce a feeling
correspondent to those principles. They either labour under some
defect, or are vitiated by some disorder; and by that means, excite
a sentiment, which may be pronounced erroneous. When the critic has
no delicacy, he judges without any distinction, and is only affected
by the grosser and more palpable qualities of the object: The finer
touches pass unnoticed and disregarded. Where he is not aided by
practice, his verdict is attended with confusion and hesitation.
Where no
comparison has been employed, the most frivolous beauties, such as
rather merit the name of defects., are the object of his admiration.
Where he lies under the influence of prejudice, all his natural
sentiments are perverted. Where good sense is wanting, he is not
qualified to discern the beauties of design and reasoning, which are
the highest and most excellent. Under some or other of these
imperfections, the generality of men labour; and hence a true judge
in the finer arts is observed, even during the most polished ages,
to be so rare a character; Strong sense, united to delicate
sentiment, improved by practice, perfected by comparison, and
cleared of all prejudice, can alone entitle critics to this valuable
character; and the joint verdict of such, wherever they are to be
found, is the true standard of taste and beauty. But where are such
critics to be found? By what marks are they to be known? How
distinguish them from pretenders?
These
questions are embarrassing; and seem to throw us back into the same
uncertainty, from which, during the course of this essay, we have
endeavoured to extricate ourselves. But if we consider the matter
aright, these are questions of fact, not of sentiment. Whether any
particular person be endowed with good sense and a delicate
imagination, free from prejudice, may often be the subject of
dispute, and be liable to great discussion and enquiry: but that
such a character is valuable and estimable will be agreed in by all
mankind.
Where these
doubts occur, men can do no more than in other disputable questions,
which are submitted to the understanding: They must produce the best
arguments, that their invention suggests to them; they must
acknowledge a true and decisive standard to exist somewhere, to wit,
real existence and matter of fact; and they must have indulgence to
such as differ from them in their appeals to this standard.
It is
sufficient for our present purpose, if we have proved, that the
taste of all individuals is not upon an equal footing, and that some
men in general, however difficult to be particularly pitched upon,
will be acknowledged by universal sentiment to have a preference
above others ''.
In other words - I can say - that
the music must be let to sounds freely, any absorption which retains
something from it will distort our perception. And perception
is already a delicate mater...
For me... for them
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Dor...and
more
Mihail Eminescu - in Romanian here and...in
English, here |
 Sanda
Anghelescu - DOAMNA revistei "Formula AS" a plecat spre
zarile albastre |
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>Sound & Hi-Fi , High-End category >
R1's Reference test - In Greek
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>Sémiotique et musique |
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>Les diatheses homeopatiques |
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>More music aesthetics and some acoustical
consequences [paper1,
paper2,
paper3,
paper4,
paper5,
paper6,
paper7,
paper8,
paper9,
paper10,
paper11] |
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>Seven
questions that keep physicists up at night
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>Beautiful evidence
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>Science's Alternative to an Intelligent Creator: the
>Multiverse Theory |
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>For
my friends, many articles, are here
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ART
black and white photos and
more
We are a
global community whose strong passion is
creative and experimental analogue film
photography
Mr.
John Economou is my first and steady
friend in Greece, from 1986 |
|
AND
NOW.....
We proudly present
you, probably the most inspired and
talented
avant-garde composer and performer of our times
Marika Klambatsea- First National Greek Prize for Music |
here,
from her first CD - ''La saradua''
Habanera
Carmen in Free improvising
(
07:06 , - 17,9 MB )
live
studio direct - no remix- recording , compressless, no
equalization, using an array of 12 Neumann microphones
sound
engineer - zainea liviu
more from Marika Klambatsea here..
Surprise,
surprise...!!!
After so many years of
collaboration with Marika Klambatsea and thousandths of
hours of listening, I begun to compose or experiment in
composing myself. Here are some of them. Because most of
them are very big, exceeding one hour, I will cut them in
smaller parts. For obvious reasons, all files are compressed
in mp3 format.
Most of my personal experimental music is avantgarde...
Year 1 -
Roundffusor1 & myexperimentalmusic
Dreams
waiting your comments about this kind of music.....
|
THE ART OF SOUND - THE PLEASURE OF MUSIC
THE POWER OF USEFUL
INFORMATION FOR THE PEOPLE WHO
LOVES TO LEARN !
|
Company
address
Mr. Zainea Liviu Nikolae / ESR, 14 Peresiadou, TK11141 Athens, Greece
Communications
data
Tel/Fax:
0030 210 20 27 191
Mobile:
0030 693 66 07 321
Email:
liviu@zainea.com
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frequencies attenuation, our natural inhibition mechanism lowers
somehow leaving the music
flow to our hearing & pleasure. 
