在论坛里面,我们讨论很多事情,我们讨论所有事情,但是我发现,好像没有人提到TuneDem。什么是TuneDem? TuneDem是一种方法,一种评价音乐表现以及一套hifi的音乐表现的方法。是一种在做A/B对比时候的一个标准。用来区分什么是更好的,什么是更差的。比如当你换了一条电源线,音乐是比原来好了,还是差了?你把音箱的摆位调整了,音乐是好了,还是差了?这台功放的表现是更好的,还是原来的功放更好?一个烧友说这条网线很好,这个Liner power supply非常好,这个好的标准是什么?这些都需要用到TuneDem方法去验证。只有在同一个标准底下来分享,比较,内容才有参考性,才有价值。所以,也许大家遗忘了,重提一下重要的组成部分TuneDem办法。
PRaT = Pace Rhythm and Timing
意思是naim相信他们的系统在节奏,旋律和时序上是他们努力要呈现的东西。当这三个东西的改善意味着追求音乐是享受和共鸣,而不是用来分析的。这个和TuneDem提出的方向是一致的。(难怪linn naim很多年前几乎合并了)。尽管google "PRaT naim"吧。
如果一个烧友,经过经常出入器材,常听不同的音色,最终找到喜欢和接受的调子,我想这也算是一种调音方式(假如这不是耳朵适应了系统)。只是,这种方式是高成本和不具备效率的。就像百线生兄提到的,他自己琢磨出打拍子的验证方法,表明也许你自己并不察觉,但是你已经在用Tunedem了,或多或少。但如果其他人没有百线生兄的聪明和经验,那结果很可能是在”爬梯子“。
例如你买了一套linn,然而你却不知道tunedem。那么你只是买了linn的硬件,而没有用它的精髓去使用和调整。你只能按照你的喜好去调整,根据其他烧友的经验调整,根据听现场回来调整,根据论坛(或枪文)去调整。我不肯定这些是不是最适合调整linn,但显然增加了风险和不确定性。就像结了婚再谈恋爱,我只能说祝你好运。如果效果始终不合口味,你会迷茫,瓶颈。然后你会寻求一个最简单的way out,升级!要么买配件,要么买更贵的linn的设备,要么买比linn更贵的其他牌子,然后继续试错,然后继续升级。我叫这为”爬梯子“。爬梯子的结果,很可能是要么钱花完了,要么精力耗尽了,如果还没有悟出个结果,也就这样接受了。或者你会想fxxk it off,全出了,退烧!在完成整个过程后,有人会说我玩过hifi了,但真的是吗?
The philosophy at Linn is very simple — if it sounds better, it is better.
The philosophy at Linn is very simple — if it sounds better, it is better. That’s why we always recommend you listen and compare music systems before choosing the right one for your home. It’s really easy using our Tune Dem know-how.
When carrying out an A/B demonstration, it is sometimes possible to be confused by extraneous factors such as loudness and tone. The Tune Dem is a way to compare the two products and decide on how easy it is to follow the tune and appreciate the musical piece as a whole on each one — this allows you to hear quite clearly which product sounds better. The method involves silent repetition of the sound from the loudspeakers, silently singing along with the sound from the speaker. The easier this is to do, the more accurate the system performance.
The Tune
Our favourite method of evaluating the musical performance, and thus the performance of the hi-fi, is simply listening to the tune.
Many people immediately dismiss this as being the obviously too simplistic to provide meaningful results. But, in actual practice, this is an all-encompassing technique that more clearly brings out the differences in hi-fi systems than any other method of evaluation that we have ever used.
The music on a record consists of a signal that, at any instant, can be described with two parameters, frequency and amplitude (or pitch and loudness).
Any type of distortion will change frequency, amplitude or both. And it rarely does this in a linear manner, meaning that some frequencies or amplitudes are changed more than others are. These changes in frequency and amplitude alter the tune by changing the pitch relations in the music. For example — since the perceived pitch of a note consists of the sum of its fundamental plus its harmonics, a distortion that adds extra harmonics will shift the pitch of that note up slightly. Likewise, a distortion that results in the rolling-off of higher frequencies (thus reducing the amplitude of some harmonics) can lower the perceived pitch.
Our musical scale is composed of a series of fixed , predictable steps and our brain has an uncanny ability to follow those steps, determining when errors have been made. It is much like climbing a set of stairs. As long as all the steps are the same you can comfortably walk up the steps, come down the steps, run up, run down, take two steps at a time, even do it in the dark. However, change the size of just one step and you are likely to fall on your face.
Following the tune is much the same. If you try to follow along with the tune you will find that, on a good hi-fi system, the tune will seem to make more sense. The steps will be more regular. The notes that one instrument is playing will have some relationship to the notes that another instrument produces. You will even frequently know what note is coming next.
In the end, the better the system the less damage it does to the pitch relationships and the easier it is to follow the tune. And, since any type of distortion, regardless of its source, must alter the tune. The Tune Dem method is a comprehensive test of a hi-fi system’s musical performance.
"A fighter pilot, sailor or artist is taught how to look, just like a musician or an audio engineer has to learn how to listen."
Ivor Tiefenbrun MBE
Tune Dem method
The approach we suggest when doing an A/B comparison is to listen to component A, then listen to B. If one sounds better, buy it. We have always said, “If it sounds better, then it is better.”
You will find it easier to compare components in an A/B situation if you play only a brief passage of music (as little as ten seconds and certainly no more than thirty seconds) on one component. Repeat this brief passage a few times on the first product then switch to the second component and play the same passage.
By keeping the passages short, you will keep the “tune” fresh in your mind and therefore be more able to judge the relative difficulties in following the tune on each component.
If you have any problems in detecting differences in regard to the ease of following the tune, don’t panic. Just sit back, relax and try again. Ask yourself a few simple questions:
Can you hear all the musicians playing all of the instruments all of the time?
Can you always follow the tune played by every instrument?
How easy is it to sing-along/follow with the melody?
The remarkable thing is that once you do hear the difference you’ll find that it’s much more apparent than you originally thought. And the more you listen the easier this method will become. With a little practice, you‘ll find that you have a listening test that is consistent, repeatable, and best of all, a very reliable indicator of the performance of any hi-fi component.
Note:
Avoid the use of comparators or switching boxes. The extra connectors will degrade the signal of both components under test, frequently bringing the level of performance down to that of the switch box, making any meaningful evaluation impossible.
We also strongly suggest that all component evaluations be done in a demonstration room that contains only one set of loudspeakers. Additional speakers, even if they’re not being used, will vibrate in sympathy with the original sound source. This added noise makes it more difficult to evaluate the sound. Not only does it make it harder to judge the tune, it tends to favour a component that is more aggressive sounding. This unfairly penalises a good product by masking some of the low-level detailed information that only the best components are capable of reproducing.
Why not try it for yourself?
Like our engineers and designers, Linn's expert retailers are trained in the Tune Dem. They can help you use it to find the best system for you. They can even tailor your hi-fi to your home. It's all part of the service.
Our advice has always been; if it sounds better, it is better. Just Listen.作者: 百线生 时间: 2014-8-10 00:26
既然LINN倡导用此法调系统,它本身生产、测试、定型也肯定用,常教授是LINN KDS用家,要真正得法何不遵照厂家官方提供的办法更准确捷径呢?作者: LCL123 时间: 2014-8-10 00:40
留意这一句
“Like our engineers and designers, Linn's expert retailers are trained in the Tune Dem”
如同我们的工程师和设计师,Linn的专业零售商也经过了TuneDem的培训。
如果我们也能接受Linn的Tunedem培训,那绝对更快地明白这个方法。同时也说明这个方法是有一定难度的。
Quite often people need a bit of guidance when doing TuneDems, and sometimes it can be very helpful to steer what they are listening to. By asking questions of the music, you can very quickly determine whether a system is giving you enough information to really hear what is going on.
Scottish Chamber Orchestra / Mackerras: Mozart Symphonies (CKD 308) (图2)
Mozart 40th Symphony, 3rd movement
Listen to the arpeggio figures in the strings (where the tune moves by leaps up and down the notes of a chord rather than by step of a scale), both in the bass at the beginning and in the violins as the movement develops:
Can you hear each of the notes clearly?
Are all the violins on each line in tune with each other?
Are they together with the rest of the orchestra?
The answer to these questions is not necessarily ‘yes’ on every occasion, but what becomes very obvious is that the better the system, the easier it is to answer them. This method stops people trying to listen to the ‘sound’ and instead start listening to the music – a very effective tool for sales.
Claire Martin: A Modern Art (AKD 340) (图3)
Track 1: Everything I’ve Got Belongs To You
This song sounds so contemporary that it’s hard to believe it’s a Rogers and Hart number from 1942. But just listen to the wry venom in the words – the sooner you smile, the better the system!
Artur Pizarro Ravel Piano music Vol 2 (CKD 315) (图4)
Track 3: Sonatine: Modéré
When you first listen to this recording it sounds a bit distant in comparison to some ‘hi-fi’ piano recordings. This is deliberate because in this music especially, the reverberation of the hall is an integral part of the sound world. Once you get used to the sound world, it becomes very much more interesting than many ‘in the piano’ recordings because of the way the reverberation influences how you hear both the balance of the harmony and the articulation of the notes.
This works particularly well with this piano, a Bluthner (which has a particularly lovely singing quality at the top of the instrument) and the wonderful acoustic of St Georges, Brandon Hill,Bristol. Listen in particular to how the articulation of the inner voices change as the piece develops.
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How to judge a system / 如何判断一套系统
Most people are unaware of how to make qualitative judgements about hi-fi equipment performance because they don’t know the difference between actively listening as opposed to hearing passively. They tend to make quantitative assessments, e.g. prefer more treble, more bass, more openness, more space, stronger image, more guitar. Of course the question is not whether you get more of something, which must mean by definition that you are getting less of something else, but whether all the elements of the music are in the right place at the right time.
大多数人不知道如何使关于Hi-Fi设备的性能定性判断,因为他们不知道积极听取,而不是被动地听取的区别。他们往往做出定量评估,例如喜欢更多高音,更低音,更开放,更大的空间,更强的结像,更多的吉他。当然,问题是你不在于是否得到更多的东西,这定义为你失去了某些东西,重要的是音乐的所有元素是否在正确的时间出现在正确的地方。
This is not a matter of opinion or personal taste. There is such a thing as real music. It has indisputable characteristics and undeniable universal relevance. Silent repetition is what you do when you are listening to someone speaking and you are intent on gaining a complete understanding. You silently repeat everything the person says in your own head. This of course is done naturally and effortlessly if you are truly interested, but requires deliberate effort if you are not or the content is difficult. With live music it is perfectly easy to reproduce the music simultaneously in your own head and happens unconsciously. This is the mechanism that allows music to communicate the message of the composer and the listener to assess the merit of the performance as they are transported by its communicative power.
这不是意见或个人口味的问题。而是能否体验真正的音乐。它拥有无可争辩的特点和不可否认的普遍意义。当你在听别人说话,你能获得一个完整的了解,你会怎么做,你会默念。你默默地重复一切的人说,在自己的头上。当然,这样做是自然,轻松的,如果你是真正的感兴趣,而不是刻意或内容是困难的。随着现场音乐是完全容易同时再现音乐在自己的头上,并在不知不觉中发生。这是一种允许音乐进行通信与作曲家和听众的信息,以评估系统性能的优点,因为它们是由它的交际力量是否有效的构成。
No hi-fi system can perfectly reproduce the original. The best system is simply more accurate and true to the original recording, therefore easier to simultaneously silently sing along with than systems that are less accurate.
无音响系统可以完美再现现场。最好的系统是简单地更准确和忠实于原始录制,因此更容易同时默默地一起唱比起不准确的系统。
It is important to understand that when listening actively you are not meant to try to sing the sound out loud because you would merely work from your internal musical reference and use and project this, rather than what you hear. What you should be trying to do is see if you can reproduce simultaneously and silently inside your own head the actual sounds that are coming from the loudspeakers.
据了解,积极听取当你的目的不是想唱的声音大声,因为你只会从内部的音乐基准,并使用与该项目,而不是你所听到的是非常重要的。你应该要做的是看你能不能同时默默地再现自己的脑袋里是从扬声器传来的真实的声音。
With a poor system it is impossible or time-consuming to locate the actual or approximate pitch of any melodic element and before you have had time to locate one part of the music and silently reproduce its pitch in your head things have moved on. The more accurate the system, the easier and quicker it becomes to locate each individual sound and so this provides the time necessary to track, follow and simultaneously silently repeat more elements in the melody.
在糟糕的系统,这是没法费时找到任何旋律元素的实际的或近似的间距,你有足够的时间来寻找音乐的一部分,静静地重现其间距在你的头上的事情之前已经转移。更精确的系统中,更容易和更快变得找出各个声等这提供跟踪,按照与同时默默地重复的旋律多个元件所需的时间。
The Tune Dem™ provides a way to show people how they can make consistent and quick judgements that will stand the test of time and elicit unanimous agreement.
Tunedem™提供了一种方式向人们展示他们如何才能使一致和快速的判断,将经得起时间的考验,并引发一致的协议。
Active listening as opposed to passive hearing involves tracking the sound constantly, and performing the work necessary to make an accurate observation. The system that is easiest to sing along with when you are trying to listen actively, will have the most communicative power and impact when you are simply relaxed and hearing and responding without making this effort.
而不是被动的听证会积极倾听包括跟踪声不断,并进行必要的工作,以作出准确的观察。该系统是最容易沿,当你试图主动与听唱,才会有最交际能力和影响时,你只需放松,听,不作这方面的努力回应。
Our advice to customers has always been; if it sounds better, it is better. All you have to do is listen.
我们建议客户始终; 如果这听起来更好,这就是更好。所有你需要做的就是倾听。
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主页上说:Small variations in frequency response can have a very large effect on perceived tonal balance. 这一点上和tunedem很像,记得tunedem的原文吗:The music on a record consists of a signal that, at any instant, can be described with two parameters, frequency and amplitude 。有时tune是否正确,就是那一点点的调整。
3. 打拍子是跟随音乐的其中一种表现。有时听歌,脚,手指,头会不知不觉地打拍子,证明你在跟随音乐,你的身体对这段音乐有回应。Disco当然很多是节奏明显的,那迪厅里面是不是就很tunedem呢?这涉及两个方便。第一,disco音乐并不只是节奏,鼓点,从头hi到尾。如果你在hifi系统播放disco,例如“最后一夜”“连锁反应”,甚至一些节奏很明显的,如Micheal jackson的"Billy jeans", Eagles的“There is a new kid in town"等等。除了节奏明显,这些disco或节奏快的歌曲是很有内容的,有歌词的,也在表达一些意思的。当MJ唱到“the kid is not my son"这句的时候,他真的在表达他是很无辜的。而迪厅的音乐是不是能使里面跳舞的人也能对这些信息产生共鸣呢?还是他们只是在跟随一个强烈的拍子而扭动身体呢?我觉得这两者在迪厅里面或许没有区别,但是在家里的hifi播放,是有区别的。至少,在家里的系统,这些强烈的节拍和鼓点,不应该是分散你的注意力,而是帮助你更容易跟随,更明白歌曲的表达内容,即使那仅是一首disco。