Playing a real amp after a long break…

Rock Chalk said:
Something jumped out from your post that I am curious about.…. If you’re talking about nearfield studio monitors, I don’t think “across the room” is their intended purpose and or sweet spot is it? Nothing to do with latency, was just wondering.
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Nearfield actually just means that the direct sound from the speakers dominates over the echo'd sound from the room. Distance is a part of it but not the whole story.

The speakers we call nearfield monitors are actually only special in that the distance between their drivers and associated physical effects (e.g., lobeing) kind of "work out" such that you can be very near to them and actually hear the sound as intended. Being "too far away" isn't a problem with the speakers themselves, but being too near can be.

In some ways, the point of acoustic treatments in a room is to increase the distance you can be from your speakers while still hearing a nearfield sound....which allows you to use bigger and more full-range speakers.

At one extreme (in ear monitors), the room makes absolutely zero difference to the sound...you only hear the direct sound from the (really really tiny) speakers.

At the other, with massive 6-foot tall speakers and potentially several feet between different drivers, you have to have a pretty big room anda aggressively control reflections so that you can sit far enough away from the speakers to hear "a sound" instead of a collection of band-limited point sources that are all smaller parts of the sound and not have the room reflections completely dominate the direct sound.

(note that these things are different from controlling low end in a room....which is a separate issue)
 
Rock Chalk said:
Something jumped out from your post that I am curious about.…. If you’re talking about nearfield studio monitors, I don’t think “across the room” is their intended purpose and or sweet spot is it? Nothing to do with latency, was just wondering.
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No it’s not of course, they are placed and measured to sound best at my studio desk, and they do sound great in that placement and useage.

However, I might like to sit on my couch or a stool in the middle of the room, or even a different room, when I plug into one of my little combo amps like the Gremlin or Vibro Champ, and of course I’m limited by power cord length lol, but I can easily put that amp where it sounds best.

If I put my amp on a shelf 15 feed across the room, might sound different/worse, but we usually when it comes to “amp in room” we don’t do that, we are standing in front of the cab I would imagine.

Just going to be a different sound and experience, just like how using headphones vs studio monitor can sound/feed different
 
marsonic said:
Nearfield actually just means that the direct sound from the speakers dominates over the echo'd sound from the room. Distance is a part of it but not the whole story.

The speakers we call nearfield monitors are actually only special in that the distance between their drivers and associated physical effects (e.g., lobeing) kind of "work out" such that you can be very near to them and actually hear the sound as intended. Being "too far away" isn't a problem with the speakers themselves, but being too near can be.

In some ways, the point of acoustic treatments in a room is to increase the distance you can be from your speakers while still hearing a nearfield sound....which allows you to use bigger and more full-range speakers.

At one extreme (in ear monitors), the room makes absolutely zero difference to the sound...you only hear the direct sound from the (really really tiny) speakers.

At the other, with massive 6-foot tall speakers and potentially several feet between different drivers, you have to have a pretty big room anda aggressively control reflections so that you can sit far enough away from the speakers to hear "a sound" instead of a collection of band-limited point sources that are all smaller parts of the sound and not have the room reflections completely dominate the direct sound.

(note that these things are different from controlling low end in a room....which is a separate issue)
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I’m just going by what I read here: https://www.uaudio.com/blog/studio-... monitoring where,five feet from the monitors
 
lqdsnddist said:
No it’s not of course, they are placed and measured to sound best at my studio desk, and they do sound great in that placement and useage.

However, I might like to sit on my couch or a stool in the middle of the room, or even a different room, when I plug into one of my little combo amps like the Gremlin or Vibro Champ, and of course I’m limited by power cord length lol, but I can easily put that amp where it sounds best.

If I put my amp on a shelf 15 feed across the room, might sound different/worse, but we usually when it comes to “amp in room” we don’t do that, we are standing in front of the cab I would imagine.

Just going to be a different sound and experience, just like how using headphones vs studio monitor can sound/feed different
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Gotcha….all I know is, my Adams seem to sound best when I’m right in front of them.
 
marsonic said:
Nearfield actually just means that the direct sound from the speakers dominates over the echo'd sound from the room.
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Actually, that's a misconception that gets spread all over. It has nothing to do with direct or reflected sound.

In the audio world, "near field" and "far field" have very specific meanings. The far field is every point where you're far enough from the speaker that the speaker acts like a single point source of sound, with a coherent, spherical wavefront. The near field is everywhere closer than that. Near field monitors can also work well in the far field.

Don't even get me started on "mid field." That's a marketing term with no actual definition in the audio world.
 
Rex said:
Actually, that's a misconception that gets spread all over. It has nothing to do with direct or reflected sound.

In the audio world, "near field" and "far field" have very specific meanings. The far field is every point where you're far enough from the speaker that the speaker acts like a single point source of sound, with a coherent, spherical wavefront. The near field is everywhere closer than that. Near field monitors can also work well in the far field.

Don't even get me started on "mid field." That's a marketing term with no actual definition in the audio world.
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Interesting. I've been told literally the opposite.

I wonder who's right.
 
Rex said:
Actually, that's a misconception that gets spread all over. It has nothing to do with direct or reflected sound.

In the audio world, "near field" and "far field" have very specific meanings. The far field is every point where you're far enough from the speaker that the speaker acts like a single point source of sound, with a coherent, spherical wavefront. The near field is everywhere closer than that. Near field monitors can also work well in the far field.

Don't even get me started on "mid field." That's a marketing term with no actual definition in the audio world.
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If you have a coincident/coxaxial monitor design would it ever be near field then ?
 
lqdsnddist said:
If you have a coincident/coxaxial monitor design would it ever be near field then ?
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Sure. Put your ear up against a coaxial speaker, right in the middle. All you'll hear is the high end. You'd have to get out quite a few feet to get complete coherence.
 
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cole lewis said:
latency is between farting and hearing the fart
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My name is mud said:
That ass in the room tone ♥️
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skydog said:
With the new dynamic fart, when set to zero, is the mic assumed to be on the ass, or just up against the pants?
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Randalljax said:
If they are directly behind he who farted , then yes
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Dammit no one has talked about fart smell latency. Estimated (by me) to be in the range of 500 to 10000 ms depending "olfactory response" ('OR') which includes the detecting nose (distance, location of the smeller) and room/space characteristics (size, airflow).

Usually the smell latency is smallest for the one who dealt it, because of knowing "it's coming and it's probably gonna be pretty rank given how that felt coming out."

FITR (fart in the room) smell latency is very different from FIAP (fart in a pillow) latency which is like an analog compressor+delay for farts.
 
marsonic said:
Interesting. I've been told literally the opposite.

I wonder who's right.
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Most people will tell you literally the opposite. There is much mythology in the audio field.

Audio-Technica wrote an interesting article explaining it. From that article:

The article said:
Loudspeakers must be measured at a distance beyond which the shape of the radiation balloon remains unchanged. The changes are caused by path length differences to different points on the surface of the device.

These differences become increasingly negligible with increasing distance from the source, much in the same way as any object optically “shrinks” as the observer moves to a greater distance.


The distance at which the path-length differences become negligible marks the end of the near-field and beginning of the far-field of the device.
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yyz67 said:
Dammit no one has talked about fart smell latency. Estimated (by me) to be in the range of 500 to 10000 ms depending "olfactory response" ('OR') which includes the detecting nose (distance, location of the smeller) and room/space characteristics (size, airflow).

Usually the smell latency is smallest for the one who dealt it, because of knowing "it's coming and it's probably gonna be pretty rank given how that felt coming out."

FITR (fart in the room) smell latency is very different from FIAP (fart in a pillow) latency which is like an analog compressor+delay for farts.
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Depends largely on the Belcher Onion effect too.

Those onion burps accompanying lower gaseous reflections can impact one's perception of the odor and the cheeks responsible.
 
Rex said:
Most people will tell you literally the opposite. There is much mythology in the audio field.

Audio-Technica wrote an interesting article explaining it. From that article:
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Interesting.

I can't remember who, but the definition I gave came from one of the people publishing about acoustics. That seems at least as reliable.

At any rate, the contextual take-away is the same, even if the terminology isn't: there is a critical distance beyond which speakers work properly. Moving further away than that distance doesn't significantly change how you hear the speaker, other than volume.
 
Another takeaway, which I made up so it might be bs, is that coaxial speakers work much better than others for close-ish distances, because path lengths for the two drivers are almost the same.
 
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Dave Merrill said:
Another takeaway, which I made up do it might be bs, is that coaxial speakers work much better than others for close-ish distances, because path lengths for the two drivers are almost the same.
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That's correct. As with everything, there are trade-offs. Supposedly, they distort more than other designs. And you may or may not want the dispersion that they create.
 
marsonic said:
Interesting.

I can't remember who, but the definition I gave came from one of the people publishing about acoustics. That seems at least as reliable.
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My general rule: try to get technical knowledge about speakers from trained specialists, not from people who are trying to sell you speakers. And not from most musicians or sound guys or self-professed “experts” — they learned most of their “knowledge” from people who were trying to sell speakers. Or from other confused “knowledge” that they read or heard somewhere.

marsonic said:
At any rate, the contextual take-away is the same, even if the terminology isn't: there is a critical distance beyond which speakers work properly. Moving further away than that distance doesn't significantly change how you hear the speaker, other than volume.
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This.
 
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