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LP的高频究竟能到多少?提供一些客观资料. [复制链接]

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1#

Raxel 在 2006-4-23 23:51:28 发表的内容
科研级旗舰 在 2006-4-23 23:47:49 发表的内容
其实纯粹的高频延伸量并不是很重要,但一些CD机不重视CD20K左右的锐截止滚降问题带来的高频相位偏差,和数码滤波器带来的某些非线形失真。。。。。。。。。。


我就是单纯谈LP的高频,因为我觉得有时候谣言传多了就变真理了.就是想讨论个究竟.LP上面有超高频一说在港台杂志上有时候也看到.


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在七十年代.....日本JVC的CD4唱頭頻應就到45kHz啦!

當然要配合JVC的LP黑膠唱片.......鬼佬這方面比日本仔落后..哈哈!.

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The Victor Company of Japan (JVC) developed a different method for 4-2-4
transmission and distribution. The technique was called “CD-4” as well as “Quadradisc.”
CD-4 was not considered to be a matrix system, but a carrier system. It allowed for full
recovery of the initial four channels with absolute channel separation.
Just like an ordinary two-channel vinyl where the left channel was stored on the left side
of the record groove and the right channel was stored on the right side of the record
groove, the Quadradisc stored music in the same manner. The unique feature of CD-4
was that the signals stored on each side of the record’s grooves actually contained the
information for the left rear and right rear loudspeakers as well. The left side of the
groove contained the sum of left front and left rear signals, and the right side of the
groove contained the sum of the right front and right rear loudspeaker signals. The
signals had a frequency range of 30Hz-15Khz.
In addition each side of the record grooves contained a high-frequency carrier signal.
The 30Khz signal was a modulation made up of the difference between the front and rear
signals on each side of the groove. The signals on the left wall of the groove were
compared to the carrier signal of the left side and the channels were successfully
separated. The same process occurred with the signals on the right wall of the record’s
The Implementation Of Ambisonics For Restoring Quadraphonics A. Digenis
15
groove. This was the same technology used for the transmission of stereo signal over FM
radio. A single signal was transmitted, which contained the sum of both the left and right
channels. The FM receiver produced a carrier signal at a frequency of 38KHz that was
used to separate the left and right channels from the single transmitted signal.
When the record was played over a standard stereo set-up, the left front and left rear
signals were projected out of the left loudspeaker, and the right front and right rear
signals were played through the right loudspeaker. In mono, the signals from all the
loudspeakers were heard at the same level as the left and right groove that were already
the sums of the front and rear, as equally combined. Neither of the 30KHz carrier signals
will be heard, as anything above 20KHz is inaudible by the human ear.
In order to playback CD-4 discs with full surround capabilities, additional equipment
were required compared to the matrix systems. Most turntable cartridges and styli were
only capable of reproducing frequencies up to 20KHz since anything of higher magnitude
humans cannot hear. The use of a standard cartridge and styli would not allow for four
loudspeaker-playback as they would not pickup the 30KHz carrier signal. It was thus
necessary to use the Shibata stylus with a cartridge that would allow for a frequency
response up to 45KHz.
Secondly a small device, the demodulator, was required to
extract the four channels. A few manufacturers later developed amplifiers that had a
demodulator built-in (The institute of High Fidelity 1974).
Quadradiscs provided better channel separation than the matrix systems, as well as stereo
and mono compatibility. Apart from those advantages, the system also had its downfalls.
The frequency response was limited to 15KHz. Due to additional space required to cut
the high frequency carrier signal grooves, the entire record needed to be cut 3dB lower
than ordinary vinyl. Due to the high frequency response of CD-4, during the cutting
process of the master copy, the process needed to be carried out at half speed. This was
because the cutting heads at that time were not capable of cutting grooves of such high
frequency with efficiency. Unlike matrix systems that could be transmitted over the
radio, the FCC did not permit for the transmission of Quadradiscs (Runstein 1976).
最后编辑csdam
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2#

小弟想补充一下过去的实践,当年SHIBATA 针 要好几百元才能买到,有一次我顺手拿了一个美国Gardo的MM唱头(4.95美金,型号忘记了)。接上JVC的CD4解码功放,效果正常,音色比SHIBATA 针不惶多让,这说明了LP高频伸展其实还有很多发挥空间。
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JVC的CD4解码一定要接收了唱针从唱片槽拾取15K Hz-40K Hz才能正常工作,这不是已经明确说明了你的问题了么?

你不是连上Google收集资料的任务也要我代劳吧???

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3#

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在70年代的香港,玩LP黑胶并不是什么Hi -End的玩意,那个时候尖子们都是玩开卷式磁带录音机,比较著名的有利获时,Ampex,Uher,较次一级的就玩日本的雅佳,Teac等等。所播放的都是限量版原声母带,不过这个事实并不是你们全部可以相信的……

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4#

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播放机系利获时,Ampex,Uher,较次一级的就玩日本的雅佳,Teac

母带是德国的AFFA(牌子)

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5#

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非常感谢威马兄对JVC的CD4的解说。

小弟想补充一下过去的实践,当年SHIBATA 针 要好几百元才能买到,有一次我顺手拿了一个美国Gardo的MM唱头(4.95美金,型号忘记了)。接上JVC的CD4解码功放,效果正常,音色比SHIBATA 针不惶多让,这说明了LP高频伸展其实还有很多发挥空间。

另一方面,70年代的录音Master带,它的转速达到每秒9寸,在规格上来说,频应随便可以达到30K Hz以上,瓶颈口就是当年所谓的MM唱放名器,例如:麦X涛C22,马X士7……等等,它内置的RIAA和LFP(低通滤波)限制了高频的伸展……

因此,只要拥有当年靓声LP黑胶唱片(例如:美国RCA),和一个有水准的MM唱放,高频伸展和空气感是手到拿来的哦!

欢迎有此经验的DX多多交流,谢谢。

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6#

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虽然CD4并不是大家平时聆听,收藏,谈论的常规双声道LP,但它在唱片槽拾取的绝对不是数码讯号,这已经足够解释了你的问题吧。如果你有条件,找一张比较发烧的黑胶唱片在播放的时候接上频谱分析仪(示波器也可),测试一下,就会明白了吧。

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7#

dr kuang 在 2006-4-26 1:11:24 发表的内容
线圈通过磁带极其微弱的磁场去产生音乐讯号,磁头的屏蔽和灵敏度之间的平衡问题,磁带转动的机电驱动过程(抖晃),摩擦背噪,地磁的磁化效应,带基的老化变形问题,磁粉使用过程中的脱落问题,磁带的背噪问题,复制效应,磁头的磨损,不同磁带机之间的转速和抖晃误差,因背噪造成的动态范围限制。

集这么多无法根本解决只能改善的缺点,请那位DX用严格的数据分析出开盘母带比24/96PCM,DSD这两种格式优越所在。





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在下無意用長编的文字來解说分析出开盘母带比24/96PCM,DSD这两种格式优越所在!

因為實際意義不大,而且小弟用手寫版扒格子多不容易啊!
但可以告訴你门一个事實!

現今99%被奉為天碟的LP..........它的Master 音源都是耒自開盤式錄音机!

LP比数碼声音好!不是各DX都有定論了嗎?

討論和分析就是為了求出事實!

事實如此....這還須解说分析优越所在嗎?....版主大人意下如何?

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最后编辑csdam
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