Loud Speakers: Watch Colors & Read Sound! “Beck – Colors” on YouTube

No rights owned. Paying homage.

All the colors.

Beck writes such innocuously infectious pop jams.

What is pop music, anyway?

Genres, huh?

Heard thru headphones Aka cans (big earmuff-lookin’ ones. Obviously.), this song is and is not the same song when it is heard through speakers.


Trying to learn about sound and light these days.

Speakers.  My parents had two floor standing ones that were about three feet tall.

They made sound.  Headphones make sounds. My portable CD player/Cassette Tape Player (deck?)/Radio made sounds.  I also took an entire battalion of d batteries if you wanted to “go mobile.”

“A boombox, in its most basic form, is composed of two or more loudspeakers, an amplifier, a radio tuner, and a cassette and/or CD player component, all housed in a single plastic or metal case with a handle for portability. Most units can be powered by AC or DC cables in addition to batteries.”

Wikipedia (per my March 01, 2019 visit) this page was last edited on 24 February 2019, at 20:24 (UTC).

Citations, huh

Hey, how they do that?

 


 

How headphones work = How speakers work = x

x = using magnetism to turn electrical energy into sound.

Speakers = loudspeakers = electric sound-making machines.

Loudspeakers attach to tiny, earbud headphones (cased inside ear muffs or earbud headphones) and make sound we hear.

Loudspeakers play back.

Loudspeakers turn electricity into sound.

Es_spk 300px-DynElement


Bosch_36W_column_loudspeaker_polar_pattern

Polar plots of a four-driver industrial columnar public address loudspeaker taken at six frequencies. Note how the pattern is nearly omnidirectional at low frequencies, converging to a wide fan-shaped pattern at 1 kHz, then separating into lobes and getting weaker at higher frequencies[50] (Wikipedia)


Stellar site! www.linkwitzlab

Testing a stereo system for accuracy

A sequence of tests is presented below that should reveal to what degree a given stereo system achieves the potential that is inherent in the 2-loudspeaker reproduction format. (See also the more recent Accuracy, spatial distortion and plausibility of the auditory scene article)

A – Pink Noise

Pink noise is a random process with a power spectrum that decreases at a 10 dB/decade or 3 dB/octave rate with increasing frequency. When measured with a 1/3rd octave analyzer, or constant Q filter bank, it has a flat frequency response. Since the critical bandwidth in hearing is approximately 1/3rd octave wide, pink noise tends to give an equal representation of all frequencies in the audio spectrum, from lows to highs. Thus it would seem to be a good auditory test signal, except that we do not have a reference for what it should sound like in an absolute sense. This limits the usefulness of pink noise to comparison tests of A versus B. Pink noise can reveal small physical differences between two sound sources, but it can be difficult to find the cause for those differences or to predict their consequences. Pink noise can drive you nuts, so be careful. Still, pink noise will point to flaws and errors in a sound system.

The tests use various 5 second combinations of L and R  streams of uncorrelated pink noise. What I call Stereo here is actually fuzzy  stereo and has no solid image, but is spatial like a cloud. In Mono the left and right tracks are identical. Left or Right means that there is sound only in one or the other track. 

Download and save pink-alternating3.wav (12 MB). Then burn the file to a CD-R for convenient access and repetition of the 1 minute  sound file.

1    Stereo = L & R 8    Mono
2    Left = L  (R = 0) 9    Stereo
3    Right = R  (L = 0) 10    Left
4    Mono = L = R 11    Right
5    Stereo 12    Mono
6    Mono 13    3 Bursts, 10 cycles @ 3 kHz, -3 dB FS
7    Stereo 14    3 Bursts, 10 cycles @ 300 Hz, -3 dB FS

 

Labyrinthal Laboratory Conditionals

Knecht leapt years ago into the black water of the river.

A leap of faith made in the face of a numinous bemusement.

A mæstro professing the art of conduction.


Cantos ; stanzas ; quatrains ; sections ; headings ; chapters ;


The function of any value such as x wilt result in a set of potential solutions.

f(x) : {set}, {set of the set}

yields Sentence G.

Godel’s lyric.

Taken from a song called Settes.


Cantos: sections dividing long poems.

– ORIGIN C16: from Ital., lit. ‘song’, from L. cantus


Dante sang poems in one hundred cantos.

The infernal first album of nine is the only one that hit the record charts.

Bemusing that he still writes lyrics and songs after his exile from Florence.

The courters and patrons of knightly chivalry frenzied in feigned, immodest outrage at the song of attack (quite poorly executed too, it is said) that

he played his Lady.

But he keeps on playing.

A fine equestrian he would have made.

Socrates and his diatribe will be with Dante shortly

Cursing Odsyyeus again, malifacent Man in Black: agent of injustice to Ajax.

The fellow-temple servants redeemed Parceval just yesterday.


Maestro Virgil’s rock n’ rolling opera

Nine lines feed nine recorders.

Eight channels receive live feed.

Three mixers temper.

A music master architects.

The 1 audits the confluence of the Take Stream.

The 1 who will stop the band,

called And the Band Played On,
only long enough to

allow them to listen.

Players eager to hear themselves.

Impetuous.

Feedback looping.

The impetus of the 1.

The effect of showing the parts their whole.


Any system aware that is under observation is changed by the very act of being observed.

An axiom accepted and admitted to be a theoretical, not practical, concern.

In theory the results may be nullified.

The axiom is ad hoc. Improperly derived.

Invalid even if accurate.

As Wittgenstein’s Mistress, it behooves me to ask this

Question for the Vienna Circle:

Now that you have observed that the act of observation changes the observed,

Do you ever worry for the assured changes in your method, institutions, experiments, results, or selves?

As you observe the knowledge of this observation affecting your observations and that which you observe?

Or is that just another theoretical problem too?

~

Just an observation from this lovesome dummy.

The Problem of Sciences (one more old a** quote to discover from a great book)

Classical mechanics uses space and time but never questions itself about time, space, or motion. And, Social Sciences do not question themselves about man. We cannot take it for granted that experience will give us the facts of a group or that anthropology will bind these facts by means of objectivity, strictly defined relations, if we want to access “human reality.”

The problem is our research is aimed at constituting laws and at bringing to light functional relations/processes.

By indirect knowledge, I mean the result of reflection on existence. It is indirect in this sense-that it is presupposed by all the concepts of anthropology without being itself made the object of concepts.

What the Technical Meaning of ‘Emergence’ means to me (3 Things)

EMERGENCE

system: combination of components can form a more complex organization, that can be termed a system. E.g. of biological systems: cells > organism > ecosystem. To understand how biological systems work, it is not enough to have a complete “parts” list.

emergent properties of systems: with each upward step in the hierarchy of biological order, novel proerties emerge that are not present in the level just below. They are due to the arrangement and interaction of parts as complexity increases. E.g. thoughts, memories are emergent properties of a complex network of nerve cells.

reductionism

reducing complex systems to simpler components that are manageable to study (horseapples: I say) The dillema of understanding biological breaks down thusly:

1. We cannot fully explain a higher level of order by breaking it down into its parts

2. Something as complex as organisms and /or cells cannot be analyzed without observing them take their own selves apart.

And so it goes. Great Vonnegut Quote

There was still plenty of food and fuel and so on for all the the human beings on the planet, as numerous as they had become, but millions upon milions of them were starving to death now.

And this famine was as purely a product of oversized brains as Beethoven’s Symphony.

It was all in people’s heads. People had simply changed their opinions of paper wealth, but, for all practical purposes, the planet might as well have been knocked out of orbit by a meteor the size of Luxembourg.

The financial crisis was simply the latest in a series of murderous 21st century catastrophes which had originated entirely in human brains.

More and more humans were saying that their brains were irresponsible, unreliable, hideously dangerous, wholly unrealistic— were simply no damn good.

Kurt Vonnegut. Galàpagos. 1999