Today I would like to talk about a method for adjusting an audio system with the help of recorded natural sounds. Why natural sound recordings? There are several reasons but the aim is to lighten the process of referring to real life acoustical events. First point is that such records are carried out in an open space – somewhere in the woods or in the fields – which means that they are stripped of any room resonances and reverberations. Though close miked studio recordings also strip most of the environmental acoustic artefacts, resonances and reverberations inherent to the musical instruments themselves might overlap with reverberation modes of the reproduction space, which become relatively hard to distinguish.
It all started with the love for music. We didn’t have proper audio back at these communist times in the 80s, which were dominated by cheap Russian transistor electronics. I was introduced to what should have been an advanced audio system in the home of my teacher where I was taking drawing lessons together with a bunch of other kids. The room in the old house was brightly lit and we were all staring at the still life arranged in front of us.
Today I would like to talk about the backbone of my system – the rack, this sacred place where all the electronic components are placed. Some of you might ask what is the difference between a regular lowboard one can obtain in every furniture shop and a HiFi rack made especially for audio applications. In order to comprehend the difference one should first realise what a tremendous impact vibrations have on audio reproduction.
I don’t mean to brag guys, don’t take me wrong, but the system really rocks these days and this is something I would like to report. I suspect the main reason for the outstanding performance lays nowhere else but in the improved room acoustic. As one can see on the images, there are several diffusers scattered around, also one sail is attached to the ceiling. Let me introduce you briefly to what I did recently in terms of room acoustic treatment.
Following the buzz around the Belden 8402 microphone cable used as interconnect that swirled around Jeff’s place I decided to build one myself. I decided also not to follow the classical convention of connecting conductors and shielding to RCA plugs suggested by Mr. Shirokazu Yazaki nor the contemporary norm of connecting the shielding only on one end to the ground, but to follow the methodology suggested by the french forumer and Jeff’s frequent visitor Dominique.