Blindtest zum KHV „nach Wunsch“

Ich habe schon vor langer Zeit aufgegeben, bei solchen Diskussionen "volles Rohr" mitzumischen. Erstens halte ich meine eigene Einstellung dazu nicht für den heiligen Gral, und zweitens bin ich mit über 40 von ellenlangen Diskussionen viel schneller gelangweilt als damals in meinen rechthaberischen zornigen 20ern.

hallo xTr3Me
neulich habe ich eine "amtliche" Sammlung von Testtönen gefunden:
http://www.ebu.ch/en...s/tech3253/index.php
Hier ist der Link zum dazugehörigen "Booklet":
http://www.ebu.ch/CMSimages/en/tec_doc_t3253_tcm6-10525.pdf

Grüsse,

roli


Hier ein paar Kategorien für Klangbeschreibungen anhand von EBU-Dokumenten:
(Dokument A)
Artefact category and explanation
1 Signal correlated noise:
coloured noise associated with the signal
2 Loss of High Frequency:
lack of high frequencies, dull sounding
3 Excess of High Frequency:
excess of high frequencies or associated effects, e.g. sibilance or brightness
4 Periodic Modulation Effects:
periodic variations such as warbling, pumping, or twitter
5 Temporal Distortion:
pre- and post-echoes, smearing, effects associated with transients
6 Distortion:
harmonic or inharmonic distortion
7 Loss of Low Frequency:
lack of low frequencies, i.e. missing of “basse fondamentale”
8 Image Quality:
all aspects including narrowing, spreading, movement, stability
and audio objects remaining in their original position
9 High frequency distortion:
distortion in the high frequencies, including phasey distortions

(Dokument B)

Acoustical balance
The subjective impression of the relation between the direct and indirect (reflected) sounds.
Acoustical noise
Unwanted sounds in the room of origination, caused by, for example, air–conditioning equipment, lighting, movement of chairs; or noises carried by the structure of the building, such as impacts from outside, traffic noise, etc.
Apparent room size
The subjective impression of the apparent size, real or artificial, of the origination room.
Bit errors
Discrete noises or distortions originating in a digital system.
Depth perspective
The subjective impression that the sound image has an appropriate front to back depth.
(Listeners should be aware when assessing this sub–parameter that it may be an artefact of the listening conditions rather than a parameter of a two channel stereo recording.)
Directional balance
The subjective impression that the sound sources within the sound image are placed in a way which makes the entire image balanced.
Distortions
Deterioration of the sound quality which may be due to defects or non–linearity in the recording or reproducing systems.
Dynamic range
The subjective impression of the range between the strongest and weakest levels during reproduction, relative to the expectation of the listener for programme material of the type.
Electrical noise and distortions
Unwanted signal components caused by the electro–acoustical transmission channel or signal processing, such as: noise, clicks, non–linear distortions and fading.
FREEDOM FROM NOISE AND DISTORTIONS
Absence of various disturbing phenomena such as electrical, acoustical noise, public noise, bit errors, distortions, etc.
Homogeneity of the spatial sound
The subjective impression that the sound space is a homogeneous whole.
Integrity
The subjective impression of an appropriate sound image for the performance so that the two appear as an integrated whole.
Intelligibility
The possibility to distinguish the words in spoken and sung text.
Location accuracy
The subjective impression that all sound sources are accurately positioned in the sound image.
Loudness balance
The subjective impression of the appropriate relative strength of the various sound sources.
MAIN IMPRESSION
A subjectively weighted value of the parameters Spatial impression, Stereo impression, Transparency, Balance, Timbre and Freedom from noise and distortion, taking into account the integrity of the total sound event and the interaction of the different parameters.
Public noise
The subjective impression of disturbances caused by the audience.
Reverberance
The subjective impression of the appropriate duration of natural or artificial indirect sounds.
Sound attack
The subjective impression of the speed at which sounds begin; a combination of the rate at which sounds increase over a very short period and the duration of that period.
SOUND BALANCE
The subjective impression of the balance of the individual sound sources in the general sound image.
Sound colour
The subjective impression of an appropriate sound for each source including all its characteristic harmonic elements.
Sound colour of reverberation
The subjective impression of a natural sound colour in the acoustics of the venue including any artificial reverberation.
Sound image width
The subjective impression of an appropriate width of the sound stage in the stereo sound field.
Sound source definition
The subjective impression that different instruments or voices sounding simultaneously can be identified and distinguished.
SPATIAL IMPRESSION
The subjective impression that the performance takes place in an appropriate spatial environment.
Stability
The subjective impression that all sound sources stay in their intended positions.
STEREO IMPRESSION
The subjective impression that the sound image has the correct and appropriate directional distribution of sound sources.
Time definition
The subjective impression that individual short sounds in rapid succession can be identified and differentiated.
TIMBRE
The subjective impression of the accurate portrayal of the different sound characteristics of the sound source(s)
TRANSPARENCY
The subjective impression that all details of the performance can be clearly perceived.