|
"In the end, the shocking truth was that we were unable to establish any correlation
between the horrendous measurements and the enthusiastic response from our listening panel"
Anonymous scientist
|
|
Zoals de meeste audiofielen weet Array al jaren dat conventionele metingen niet voldoende
zijn om de werkelijke prestaties van een high-end audio versterker weer te geven. Reeds
vele jaren geleden is Array begonnen met het evalueren van onze ontwerpen op een
gestructueerde manier met getrainde oren. Wij hebben daarbij een aantal
scoringscriteria gedefinieerd die wij hieronder weergeven. De text is in het Engels
omdat wij ook veel met buitenlanders hebben getest:
Imaging
(Soundstage). Visualisation of the 3-dimensional space in which the sounds are generated.
With good imaging, one can “visualise” the original stage with musicians (when the eyes
are closed).
Imaging Width
How far does the soundstage “wrap around” the listener. Is the distance in
horizontal direction between musicians correct. Note: The soundstage can also be
too wide, with a “hole” in the middle. The width should be Correct to score high.
Imaging Depth
Is the distance between musicians in depth direction correct.
Imaging Focus
Do instruments have their original size or do they appear from a “blob”.
When focus is not good instruments that are close to one another seem to “merge”
in space. (Transparency, Blackness of background, Contrast)
Imaging Stability
Instruments are soundly locked to their physical location.
The instruments do not “wander around” the soundstage.
Neutrality
(inverse of Distortion, relation to Warmth)
Tonal Balance
The instrument sounds like the original instrument, not like an
instrument of the same type but of a different make. (Close correlation with harmonic
distortion)
Cleanness
No sounds are heard but the original sounds of the recording
(Close correlation with non-harmonic distortion like cross-over distortion etc.)
Attack
(Lebendigkeit, Punch, Control, Authority, Dynamics)
Transients
Sounds start and stop with high speed. Transients are sharply
defined. The sound can change so fast that the listener feels it is “unexpected”.
Pressure
Not just for Bass tones, one gets the feeling that one not only
hears with the ears but also with the skin. The listener gets a sensation of moving air.
Presence
(Musicality, Realness, Involvement)
Use of this parameter is optional because it is difficult to grasp and quantify.
With good presence, the listener gets a feeling of "actually being there",
a physical presence of the performers.
Dynamics
(inverse of Compression)
The sound covers the entire range from very loud to very soft. One
does not experience compression.
Bass
Bass Extension
Presence and awareness of very low frequencies in the sound.
Bass Tightness
The bass sounds coherent and not detached from the rest of the music. It is easily possible to indentify individual bass instruments and bass tones.
High Extension
Presence and awareness of very high frequencies in the sound.
Array: Geavanceerde techniek, audiofiel doorontwikkeld
|
