Sound quality
Sound quality refers to the quality of sound, and many people confuse it with "tone." What is the quality of sound? When you are talking about the quality of a pair of shoes. You must refer to fit, comfortable, and durable, rather than referring to its shape, not good-looking, not fashionable. Similarly, when you say that the sound quality of an audio equipment is good or bad, you are not saying how it is level or positioning, but specifically referring to this equipment "tolerant to listen"! It's like being impatient and not fit. A good sound quality equipment, it is comfortable and resistant to hearing. You don't have to explore the reason why it sounds comfortable and listenable. It's the expert's business. Just use your ear to judge. Some equipments are powerful, fast, and resolving, but they are not durable. It may be a matter of sound quality. A good audio equipment, its sound quality should be like a pair of good voices, people are not tired of listening.
Maybe I said that you still think it is abstract. Actually, I can tell you the actual list. When you mention the fabric, you will say: This material is of good quality. When you are eating steak, you will say: This steak is very good. When you are praising a child, you will say: This child is very qualified. So, when you are listening to an audio equipment or an instrument, you will also say: its sound quality is very beautiful. From the above examples, you can clearly know that "quality" is an innate nature. The sound quality is noble, very good, beautiful is the nature of this equipment is very good, it makes people sound very comfortable. I can say that sound quality is the most important part of audio equipment, so I put it in the first place.
Tone
The tone is the color of the sound. In English, the sound quality (TONE QUALITY) and the sound (TIMBRE or TONE COLOR) at a glance, it is not the same thing. However, in Chinese, sound quality and tone are often mixed and misused. We often hear: this violin sound is really cold, this violin sound is really warm, etc., which means the violin sound. The sound is like light, it is colored, but it is not seen with the eyes, but with the ears. Usually, the warmer the sound, the softer the sound; the colder the sound, the harder the sound. Too soft or too hard is certainly not very good. Sometimes, the tone can also be described by the words "noble" and "beauty". Basically, it is also one of nature. However, just like cloth, cloth refers to its material, but cloth color refers to its color, which still has obvious boundaries. In audio equipment reviews, the sound is like a color, referring to its unique color. Some equipment has a yellowish tone, some whiteness, some coldness, and even you can say it is a blue with a bit of sadness. In short, the audio equipment is like a musical instrument, and it can hardly be separated from the fact that the more expensive the tone is. A two-million-dollar violin may have a golden glow, while a five-dollar violin may have a faded color. Although everyone has different opinions, "beauty" still has a "consensus" that everyone recognizes. You can't say that a person with a nose is "the embodiment of beauty." You can't say that a cold blue tone is beautiful. This is our consensus on the beauty of the sound.
Distribution and control of mass perception in high, medium and low frequency bands
This project is easy to understand, but it is also easy to produce misunderstandings in text communication. how to say? Everyone will say: The treble of the pair is too strong and the bass is too small. This is the volume distribution of the high, medium and low frequency bands. The problem is that if the bandwidth from 20Hz to 20KHz is divided into three segments, it will inevitably lead to "inaccurate" confusion. In the end, what is your bass? How low is it? In order to make the described text more precise, it is necessary to subdivide the bandwidth of 20Hz-20kHz. According to the US TAS and Stereophile's method is very simple, they subdivide the high, medium and low segments into three sub-segments, which is to become the "lower intermediate frequency, intermediate frequency, higher intermediate frequency" method. This division is like a twelve-average law, quite regular. However, when used in Chinese people, there are some minor translation problems, such as "lower intermediate frequency", which we call "mid-low frequency" or "low-intermediate frequency"? So what is the higher frequency? "High and low frequency"? For the Chinese, this distinction of foreigners may not work. So long ago I referred to the bandwidth of the instrument and the orchestra's name for the sound. The frequency of 20Hz-20KHz was divided into seven segments: extremely low frequency, low frequency, low frequency, medium frequency, medium frequency, high frequency, very high frequency. . The nouns of these seven paragraphs are in line with the customary names of ordinary Chinese people, and they are easy to remember and will not be confused.
This octave from 20Hz-40Hz is called the extreme low frequency. There are very few instruments in this band, and only instruments such as double bass, bass bassoon, toba, organ, and piano can reach such a low range. Since this extremely low frequency is not the most beautiful range of the instrument, the composers rarely write the notes so low. Unless the pop music is deliberately arranged with an electronic synthesizer, the extremely low frequency is of little use to the audio fans. Some people mistakenly believe that although the pitch of the instrument is not so low, the overtone can be as low as the pitch. In fact, this is not true, because the pitch of the instrument is the lowest sound of the sound, and the sound will only climb up twice, three times, four times, five times, etc., without the downward sound. It's like you tighten a string. The full-length vibration frequency of the string is the pitch, one-half, one-third, one-quarter, one-fifth... The vibration of the chord length is the overtone. The addition of pitch and overtone is the tone of the instrument. In other words, the violin and the flute will behave differently even if the pitch (pitch) is the same.
Low frequency
The frequency from 40Hz to 80Hz is called the low frequency. What instruments are there in this band? Drum, double bass, cello, bass bassoon, bassoon, bass reel, bass clarinet, Tuba, French, etc. This band is a major contributor to the foundation of a thick and low frequency. Usually, the average person mistakes this band for extreme low frequencies because it sounds very low. If the amount of this frequency band is too small, the feeling of richness and sputum must not be; and it will lead to the highlight of medium and high frequency and high frequency, which makes the sound lose balance and is not durable.
Middle and low frequency
From 80Hz to 160Hz, I call it the mid-low frequency. This band is the biggest headache for Taiwanese audio fans, because it is the culprit in the ears. Why is this band particularly prone to peaks? This is related to the length, width and height of the small room. In order to remove this annoying peak, most people have tried their best to absorb this band, so that the ears will not be blasted. Unfortunately, when your ears don't sound like a bang, the lower frequency and the upper midrange are probably recessed with the absorption of the mid-low frequency, making the sound thinner and less rich. Even more unfortunately, most people think that this situation is correct only because the peak disappears. This is one of the reasons why many people's homes are not rich enough. The instruments in this band include the instruments mentioned in the low band just now. Yes, the timpani and the bass are also added.
Intermediate frequency
The frequency between 160 Hz and 1280 Hz spanning three octaves (320 Hz, 640 Hz, 1280 Hz) is called the intermediate frequency. This band contains almost all instruments and vocals, so it is the most important frequency band. The biggest misunderstanding of the instrument's range is also here. For example, most of the violin's semi-range is in this frequency band, but most people mistake it for it; don't think that the soprano range is very high. In general, her highest range is only at the upper limit of the intermediate frequency.
From the above description, you must also understand how important this intermediate frequency is to the sound. As long as this frequency is sag, the performance of the sound is immediately thinner. Sometimes, this thinness is easily interpreted as "false cohesion." I believe that there are a lot of audio fans who are in the mid-frequency depression and don't know. The importance of this band is also ok.
Resolving power
This term is the most understandable. Anyone who has played the camera knows the difference in the resolution of the lens. People who watch TV also know that their TV can analyze a piece of black hair without any mismatch or good analytical performance. Good audio equipment, even subtle and complex things can be clearly expressed, this is the analytical power.
In fact, the details and the darkness of the dark part are also the result of the resolving power, which is like the sense of space can be combined into the sound field. But resolving power does not represent all the details of regeneration and layering. For example, the sense of hierarchy that goes to the next row is not entirely caused by resolving power; in addition, if the layering is really incorporated into the resolving power, then the individual terminology cannot be clearly explained. Therefore, I will try to separate them as far as possible. Readers only need to know that there is an inseparable relationship between the two.
In general, if the subtle changes (low level) can be clearly expressed, then the resolution of this equipment is of course very good. Since there is a resolution at low level, is there any resolution at high level? Of course! In the extreme bursting, everything can be resolved clearly, that is, high resolution.
Speed ​​sense and transient response
In fact, the sense of speed is the result of transient response, and it is also the specific performance of equipment rise time and slew rate. Foreigners usually say this as a transient response rather than a sense of speed. However, Taiwan's customary language is a sense of speed. For the old, the sense of speed is easier to understand than the transient response. Basically, these two terms refer to the speed of the various reactions of the equipment. I don't think I have to explain more here.
Strong and weak contrast and dynamic contrast
The contrast between strength and weakness can also be said to be the dynamic contrast of foreigners, that is, the contrast between loud and small. In general, the strength and weakness comparison can also be divided into the "contrast strong" strength and weakness contrast and the "very small contrast" strength and weakness. We often say that the dynamics of classical music means that its maximum sound is very contrasted with the smallest sound. While rock music is loud, its sound and pressure is not very large, so we say that although it is loud, the dynamic contrast is not big. .
What is the contrast of minimal dynamic contrast? That is, the subtle contrast between the strength and the weakness is very close. This subtle contrast between strength and weakness is like a ripple of water. It seems to be moving from a distance. It is known from a close look that it is always undulating. The most obvious statement of strength and weakness should be like this: the great contrast between strength and weakness is the wave that beats the rocky shore; the contrast between the strong and the weak is the fluctuation of the lake under the breeze.
The ratio of the size of the instrument to the vocal
In the end, how big is the line and shape of the instrument? In the end, the vocals need to be like a chain? Still have to have rich meat? This problem has been plaguing audio fans. The idealist believes that it should be reduced to the listening room in the home according to the size of the actual orchestra. In fact, this is impossible. Let me give you the simplest example. When the piano and the violin are playing the sonata, the shape of the piano does not know how many times more than the violin (the volume is also the same). If the volume of the violin is not increased during recording, the violin is often masked by the piano (this is often the case with live concerts). So when recording, the sound engineer will deliberately balance the volume of the violin. Let's say that when the entire orchestra performs a concerto with the violin, if it is scaled down completely, the violin should be too small to be small, not as clear and powerful as we heard on the CD. Therefore, the correct "proportion of musical instrument and vocal size" is not a blind reduction of the rules, but a reasonable proportion of music. The instrument is so, the voice is also the same.
In fact, the most notable ratio of the size of the instrument to the vocal is not the problem of proportional reduction, but the misunderstanding caused by the distortion of the frequency response curve. For example, if your room has a severe peak at around 100 Hz, the timpani will be particularly large and very strong when knocking; the cello and double bass are also good. This is the true proportion of mistakes. Therefore, when evaluating the "proportion of the size of the instrument and the vocal", special attention should be paid to the effect of the distortion of the frequency response curve.
Musical instrument and vocal texture, air sensation
The term "texture" is quite abstract. We often say that the wood of this furniture is very good, the texture of this leather sofa is very good; or the texture of this marble is very good. From this example, we can understand that the so-called "quality" Jing refers to the "material nature of the object." However, what we are talking about here is not the texture of the sound quality, but the texture of the instrument playing and striking the moment. Therefore, when we are saying, "The violin's rubbing string is very good," it means "it recorded like a violin." When we say, "The slap of the slap is very good," that is, "it sounds like it is true." On the other hand, when we think that "the violin string is not enough", it is "it is not like real". From this, we can clearly understand that the so-called texture is also referred to as "fax." When the laser disc was first introduced, everyone felt that the sound of the violin was not the same, that is, the texture of the rubbing string was not like it.
The "physical sense" is easier to understand. When we listen to the clarinet, we say that its physical form is really good, and that is also a kind of "fax." In short, both texture and form are synonymous with "fax or not." What is the "air feeling"? When we describe the playing and typing of keyboard instruments, we use "the sound of a certain instrument is very good." However, when we are describing a wind instrument, we usually do not use the word "quality" and use the "air sensation", that is, the feeling of blowing. To put it more clearly, "air sensation" refers to the feeling of sound wave vibration, and the texture is mostly the feeling of "contact" after the moment. Of course, in addition to the stringiness of the string when playing, the string group also has the "air feeling" generated in the string air.
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