And we deaf old bast'###s insist on setting up our av/hifi systems!
Mordaunt Short Mezzo System C - 8,5,1,9.Yamaha V2065. SonyS570. Panasonic TX-P42G20B., Sky HD 1TB. Garrard 86SB. PF30. Wii. WDTV Live. Harmony One. STAX300. QED cabling. Galaxy Tab 10.1
System Photos - http://s1051.photobucket.com/user/robinkidderminster/library/?sort=3&page=1
Base trap Project - http://www.whathifi.com/forum/home-cinema/corner-base-trap-completed-project?page=1
I've spent my whole life being careful to protect my hearing and it seems to be paying dividends now that I'm getting older. I've always been especially careful with music volume when listening to earphones and even used to take earplugs to raves and gigs in case they were too loud.
Hearing loss is an interesting subject all of it's own and given my working life of some interest to me. There is some research that suggests that hearing loss is related to stress, ie unpleasant noisy work environments have greater effect than enjoyable though equally loud music.
Personally I think the big issue is sustained exposure, a few gigs are unlikely to do serious damage but every day, a different situation.
My own damage is related to the ability to discriminate one sound from another, best explanation is that, in a noisy crowded bar (say), I find it hard to evesdrop by picking and following one conversation out of the general hubbub. First noticed this when I hit the big 50!
High frequency hearing in middle-aged males varies very widely. The most significant factor determining hearing loss is most likely to be genetic. So whilst it's a good idea to protect your hearing, it doesn't guarantee that your hearing will remain good. Most of the people you see wearing hearing aids will not have experienced any externally caused damage to their hearing. And if your hearing does remain pin sharp, the most likely explanation is lucky genes.
If we are talking of the population as a whole, then I am sure you are pretty much on the money.
On the other hand I have met far to many hard of hearing rock musicians for this to be a coincidence.
We do so many shows in a row,
And these towns all look the same,
We just pass the time in our hotel room
And wander 'round backstage,
Till the lights come up, and we hear that crowd,
And we remember why we came.
Are u suggesting this has been done? I was referring to being able to 'hear lots of content from 30hz to 100hz in rock & pop'. Not using instruments to measure which is clearly a different scenario.
Sure, I've done it. Just playing about with the bits I've got at home. With the main purpose being to check that the drivers in my speakers were all working and that each driver was balanced with the other channel. But also as an experiment to hear what the various drivers were contributing to the overall sound.
Very interesting, but only part of the story.
With the exception of church organ or electronic music, bass notes are rich in harmonics and the lowest fundamentals play only a very small part in defining what we hear. For jazz, rock and popular music of all kinds the octave 35-70hz contributes little to the musical experience, sure some recordings have more in that region than others but it is rarely of any great consequence..
I mentioned earlier, non experts invariably think bass notes are deeper than they actually are and in real music there is little of any consequence below about 82 hz, bottom E on a guitar or E2 on a piano. Some instruments can go deeper, but they rarely do and even then, the contribution of the fundamental is only a small part of whole texture of the note.
In a difficult room such as the OPs 3 x 3 meter space the primary resonance is going to be around 85 - 90hz, putting any speaker close to a wall is going to drive these frequencies to excess, bass trapping in a room that size is impractical and good eq, a variable Q parametric to 'notch out' the resonant frequency is hard to come by in the hi-fi world.
The only practical way to produce tight punchy bass in such a space is to move both the speakers and the listener well out into the centre of the room, the speakers one third of the way down the room and the listener close to the center. That will work, though it is propable unacceptable domestically.
Check out these measurements:
My take on it is that there is a significant amount of content below 70hz on most of the recordings I listen to. And on some recordings, such as Lady Ga Ga Born this Way, theres more content at 30 hz than there is at any other single frequnecy in the spectrum. If I have a system that filters out the signal from 70hz downwards then that is not very good fidelity. And most importantly of all, I can easily hear the difference between my least extended speakers and my most extended, with me having a big preference for my most extended speakers - especially when they're in a well furnished room.
Some speakers which produce relatively tight punchy bass are designed to be used within 2 inches of the corners of the room. Which I think is sensible speaker design. Something that works with the room enclosure instead of fighting against it.
All very interesting but I did say most music and I did specifically not include 'electronic' music, which is what those graphs represent. The production values for music of that style demands massive bass output for reproduction on 'club' sound systems, Beats headphones and the like.
I do not consider this as anything other than sound effects, and they can be whatever you like, I had assumed that we were talking about real music played on real instruments and reproduced with a degree of accuracy, though this is clearly not the case. (sorry if that sounds pompous, it's hard to say what I mean any other way)
If recordings such as those given in your example are used as a reference, then you are absolutely correct and I concede the point, I am just happy that I do not have to listen to it on my system. I am old fashined and reactionary enough to still think that hi-fi equipment is for the reproduction of real music with a degree of fidelity to an actual performance, I have avoided 'manufactured' pop music for very many years and I guess I sometimes forget how pervasive it is, even, apparently among hi-fi enthusists.
Stepping back slightly, filtering the bass below 70 hz is something that is applied to vinyl recordings at the cutting stage, this is still routinely the case with non audiophile recordings, but does not usually apply to digital releases.
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