Audio

New Gear: M-Audio BX5 D2 Powered Audio Monitors

M-Audio-BX5D2-SingleA long while ago I described my experience comparing some low-end powered audio monitors for use around the home and office. We have had a mix of things in use since then, although in every case there’s a Logitech Squeezebox feeding a pair of powered monitors.

In the post-holiday exhale I’ve taken an opportunity to add a pair of M-Audio BX5 D2 5″ Active 2-Way Studio Monitor Speakers. These were offered on Amazon for $288. That’s a bargain price given the performance of the product.

I’ve had a pair of the earlier BX-5a’s for some time. Over time I’ve come to appreciate them above almost everything else on-site. Thus the decision to buy the updated version was very easy to make.

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Audio Quality: Sample Rates, Bit-Depth, Human Physiology & The Golden Ears

studera800.jpgThere is a curious interface between science and the senses. Perception is often wrapped in psychological or emotional elements. This comes in many forms. It can be a group trying to share their impression of the taste of a particular wine. It can be people listening to music. Every persons experience of such things, being filtered by all that is us, both physically and mentally, is unique.

In a recent post I referred to a silly trend in very high sample rate music. This has been promoted by a variety of people, including HD Tracks, a music reseller that promises to provide “audiophile grade high-resolution recordings.” This term they use to generally describe digital recording a structure beyond the 44.1 KHz sampling and 16 bit linear word length defined by the CD format. They offer music at up to 24 bits and 192 KHz sample rate.

I’ve come to regard this trend as having very little merit. I came to this conclusion after many years dealing with digital audio production, after some experimentation and a lot of research. Like everything else on this site, I don’t profess to be any kind of expert, but I am happy to share my experience.

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Audio Sample Rates: Terminology vs Application

I’ve recently started to develop a grumpy streak with respect to the use of certain terminology with respect to telephony. Maybe telephony isn’t exactly the right word, let’s say that my unease arises from some odd terms surrounding audio quality in the context of communication. I think that some of the language needs to be more application sensitive.

A few years ago the world was a simpler place. The “Plain Old Telephone System” (aka POTS) was definitely a narrowband medium. Where “narrowband” implied digital sampling at 8 KHz and a useful audio channel of 300 Hz – 3,400 Hz.

Some people using more advanced systems enjoyed “wideband” audio. Wideband in that case was defined as a 16 KHz sampling yielding a useful audio channel of 50 Hz – 7 KHz. The TIA-920 standard, which I have referenced previously, spells this out. A variety of audio codecs can deliver this capability including; AMR-WB, EVRC-WB, G.722, G.722.1, CELT & Opus.

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An Interesting History Of Headphones

k240studioSome time ago I stumbled upon a nice article that proposed to be something of a history of headphones. It’s a fairly good effort on the part of the author. However, I would like to add my two-cents in reference to a couple of missing items that I think are significant.

When I was in school in the mid-1980’s I was studying music recording and broadcasting. I spent a lot of time in and around various recording studios around Toronto. The single most common headset that I saw at that time was the AKG K240 Studio monitors. These were the reference grade dynamic headphones used in many facilities at that time.

The K240s are genuinely, big-ole, cans. A circumaural headphone with a semi-open design they sound great, even today. They can be cleanly driven to excessive volumes if required. Fairly efficient, they can even be powered by a cell phone or iPod.

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