Khrys, your question is valid. Though anechoic chambers are not standardized which of course compromises the very point of it all, they at least an attempt to neutralize conflicting interactions that may skew the baseline measurements. I think it's probably safe to say that most anechoic chambers are fairly similar above 200 Hz. As far as being the being the most removed from its intended usage, at least it is fairly consistent and allows the device under test to be tested as a device. Once we know how the device performs, we can adjust for the environment with some tangible knowledge. If surround sound ever fullfills its promise reflected sound may turn from being a troubling benefit to just a troubling bane. I'm not exactly sure why you keep refering to the 1940's. Are you suggesting that computer modeling eliminates the need for anechoic chambers? That may well be true, but, even the models may need some sort of reference and/or calibration. As far as the fewer compensatory devices needed being better. Well, in a perfect environment (anechoic chamber?) that might be the ideal way to go. Truth is, that in order to get recorded music at all requires a significant amount of compensatory devices to begin with. Perhaps error prevention/corection should be considered a natural part of the process. Please remember that when a Steinway recieves it's final tuning it's in the very environment in which it will be heard. Wouldn't it be nice if we had that luxury with our speakers? Not very likely. Heck, your suggestion for Steinway to test their instruments in an anechoic chamber as part of their development, is sound advise to me.
A brutal review of the Wilson Maxx
I enjoy reading this fellow (Richard Hardesty)
http://www.audioperfectionist.com/PDF%20files/APJ_WD_21.pdf
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http://www.audioperfectionist.com/PDF%20files/APJ_WD_21.pdf
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- 259 posts total
- 259 posts total