How to define high fidelity audio? Most music enthusiasts replied that we are pursuing the original sound, and closing our eyes seems to be immersive.
The realization of this effect depends not only on the quality of the speakers and electronic equipment, but also on the stereo and multi-channel formats currently in use. The superior system combined with the superior listening room produces a fairly realistic acoustic illusion, which is what we hope to achieve by naturally recording acoustic music.
We are working to replicate the true tonal characteristics of instrumental and vocal and characterize spatial locations and preserve this accuracy over a wide dynamic range. Chorus and solo for small shows are the easiest to achieve because the room at the time of recording is similar in size to the listening room.
It is more difficult for the entire symphony orchestra to achieve the above effects, because we have to try to create the space effect of the concert hall in a medium-sized listening room. Of course, the premise is that the recording engineer operates exactly according to the process, and generally this is the case. Therefore, when listening to classical music and acoustic music with high-fidelity speakers, we can't help but ask ourselves: "Is this a real voice?" The Chinese home theater network is a bit special for the music produced by the studio, such as rock and pop songs. This music is produced in the recording studio and re-equalized based on the sound effects of the replay of the monitor speakers in the studio control room. If the studio is well designed, then the recordings that work well in the control room should be similar when used in a normal listening room with a home audio system. These recordings do not have the audio reference value of acoustic music; we rely mainly on recording engineers to produce sound pressure equalization to produce a satisfying sound on ordinary home audio systems.
Usually we still want to be able to record the sound source as naturally as possible, such as an electronic guitar with signal amplification; but it is commonplace to use electronic sound effects to enhance the content of studio music creation. For example, when recording a jazz chorus in a studio, engineers typically pick up the sounds of different instrument groups to mix them together to produce a coordinated mix. One set of instruments can be recorded by a “bright tone†radio microphone (or layout), and the other set of instruments uses a microphone with different characteristics to pick up the sound, so that when you mix them together, you can achieve a sweet effect, but listen to individual sounds separately. It may be a little different when you are sitting in front of you.
So we need to remember that recording does not always represent reality, and this should be taken into account when using studio recording to judge speaker quality.
When it comes to movie soundtracks, we also need to be very cautious because they are more advocating "effects" than realism, and the sound quality of human voices is often affected by the way they are recorded and processed. However, like all types of speaker manufacturers, we collected some recordings and used them as a whole to get information about the working status of the speakers.
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