Audiophile Indonesia

Selamat Datang => Lounge Area => Topic started by: iQEM on Aug 27, 2007, 23:00:23

Title: Dictionary of Audiophile
Post by: iQEM on Aug 27, 2007, 23:00:23
Sounds Like? An Audio Glossary
diambil dari (

J. Gordon Holt, July, 1993

Subjective audio is the evaluation of reproduced sound quality by ear. It is based on the novel idea that, since audio equipment is made to be listened to, what it sounds like is more important than how it measures. This was a natural outgrowth of the 1950s high-fidelity "revolution," which spawned the notion that a component, and an audio system as a whole, should reproduce what is fed into it, without adding anything to it or subtracting anything from it.

Traditional measurements of such things as harmonic distortion, frequency response, and power output can reveal many things a product is doing imperfectly, but there have never been any generally accepted guidelines for equating the measurements with the way they affect the reproduced sound. And there was strong evidence that many of the things people were hearing were not being measured at all.

Subjective reviewing simply skirts the question of how objective test results relate to what we hear, endeavoring to describe what the reproducing system sounds like.

But what should it sound like? The pat answer, of course, is that it should sound like "the real thing," but it's a bit more complicated than that. If the system itself is accurate, it will reproduce what is on the recording. And if the recording itself isn't an accurate representation of the original sound, an accurate sound won't sound realistic. But what does the recording sound like? That's hard to tell, because you can't judge the fidelity of a recording without playing it, and you can't judge the fidelity of the reproducing system without listening to it---usually by playing a recording through it. Since each is used to judge the other, it is difficult to tell much about either, except whether their combination sounds "real." But it can be done.

Even after more than 116 years of technological advancement (footnote 1), today's almost-perfect sound reproduction still cannot duplicate the sound of "the real thing" well enough to fool someone who has learned to listen analytically---a trained listener. But the goal of literal realism, or "accuracy," remains the standard against which a subjective reviewer evaluates any audio product design.

The casual audiophile hears reproduced sound as a whole, and judges its quality according to whether it sounds "good." Many reviewers never reach that stage of perception because---convinced by their measurements that all competing products sound "essentially the same"---they never make the effort to listen critically to reproduced sound. The reason a subjective reviewer hears more than the "objective" reviewer is not that his auditory equipment is superior. It's because he has accepted the premise that identical measurements do not necessarily ensure identical sound, and has trained himself to hear the differences when they exist.

The experienced listener does not just hear the totality of reproduced sound. He hears into it, observing how the component or system handles a variety of sonic attributes which make up the whole. Instead of simply "all the highs and all the lows," he may hear a coloration that his experience has shown to indicate a treble peak. Or he may hear a lengthening of normally brief bass notes which he has learned to equate with a low-frequency resonance or a lack of woofer damping. Of course, both these problems would be revealed by measurements, but equating their measured severity with their adverse effects on the sound is another matter. To do that, we need words to attach to these effects. Those words are what we call subjective terminology.

The language of subjectivity has been around since before Edison. Musicians have long been familiar with terms like "mellow," "strident," "rich," and "euphonic," but the advent of reproduced music introduced new kinds of sonic qualities for which new descriptive terms were needed. The 1953 Radiotron Designer's Handbook---for its time, the "bible" of electronics design---listed more than 70 terms, most of which are still in use today.

Stereophile magazine, launched in 1962, was the first to review audio products on the basis of their sound rather than their measurements. Stereophile and other like-minded magazines have expanded subjectivity's working 70-word vocabulary to over 300 terms, all of which are listed and defined in this series of articles.

Most subjective-audio terms that are not drawn from everyday usage (such as "strident") fall into three categories: 1) Onomatopoeia---words that sound like what they describe; 2) Imagery---words that evoke a mental image; and 3) Sensories---words that relate things we hear to more-familiar things we see or touch. For example, the term "boomy" is onomatopoeic, because a bass peak sounds like the word "boom." The term "airy" elicits an image of expansive openness, like a large, high-ceilinged room with lots of big windows, to describe treble extension that seemingly has no limit. And the sensorial term "gritty" will have immediate meaning to anyone who has ever chewed lettuce with sand in it.

Some terms listed here are not descriptive at all, but designate certain things that are of concern only to audiophiles who listen carefully. Examples are resolution and soundstaging, which are two of the sonic characteristics used for judging system performance. Other terms---descriptive and otherwise---relate exclusively to reproduction from vinyl LPs, which are still favored over Compact Discs by many audio perfectionists.

Different subjective terms often have the same meaning, and some have more than one meaning. Don't be put off by this. Subjective terminology can never be as precise as the language of physics. But imprecise or not, it's still a much more meaningful way of describing reproduced sound than just saying, "It sounds fine."

Now that this glossary is available, there's no longer any excuse for an audio reviewer saying, "I can hear a difference, but there's no way of describing it." Now, there is a way.

I am indebted to Old Colony Books, of Peterborough, New Hampshire, for permission to excerpt extensively from my book, The Audio Glossary

Thread ini khusus Quotes, jadi jangan diskusi dithread ini. Jika ada yang ingin disampaikan/ditanyakan silahkan buat thread baru, thx !
Title: Re: kutipan A-Z seputar audio
Post by: SweeDxer on Sep 14, 2007, 05:42:24
nehh gue tambahin definisi HD audio..

What is High Definition Audio

sumber : (

G.Torres, Desember,2005

High Definition Audio, also known as HD Audio or by its codename, Azalia, is an audio standard created by Intel to be used on their chipsets, i.e. it is a standard for high-quality on-board audio. In this tutorial we will explain more about this feature.

All Intel chipsets based on PCI Express bus – like i915 and i925 – support High Definition Audio. This standard provides two new features: multi-streaming, which allows more than one audio signal to be sent to a different audio device – for example, to watch a DVD on your living room transferring the audio thru a wireless network while talking thru a voice over IP solution at the same time on your desktop in your office – and high quality audio.

Before HD Audio was released, on-board high quality audio was only available if your motherboard had a separated high quality audio controller – like Envy24 from VIA, for example. With HD Audio technology, the south bridge of the chipset produces high-quality audio itself, without the need of a separated controller chip, what would make the motherboard more expensive. The south bridge only needs an external codec (coder/decoder) chip to make the needed digital/analog and analog/digital conversions. This kind of chip is inexpensive compared to a “full” controller chip. One example of codec compatible with Intel’s HD Audio is C-Media 9880.

High Definition Audio provides 7.1 surround audio with 192 KHz sampling rate and up to 32-bit resolution. Other audio solutions embedded on the chipset support a maximum of 48 KHz sampling rate and 20-bit resolution, even when they support 5.1 configuration (“6-channel surround audio”).

Intel is promoting High Defition Audio together with Dolby Laboratories, who created three audio “levels” for PCs using HD Audio: Dolby Sound Room, Dolby Home Theater and Dolby Master Studio, which are targeted to the entry-level user, to the mid-range user and to the high-end user, respectively. The features of these “levels” are the following:

    * Dolby Sound Room: 2-channel audio supporting Dolby Virtual Speaker and Dolby Head Phones technologies. These two technologies   simulate 5.1 audio using only 2 speakers, based on Dolby Pro Logic II technology. It has a signal-to-noise ratio of at least 75 dB.
    * Dolby Home Theater: 6-channel (5.1) audio with a signal-to-noise ratio of at least 85 dB, based on Dolby Pro Logic II technology.
    * Dolby Master Studio: 8-channel (7.1) audio with a signal-to-noise ratio of at leas 95 dB, based on Dolby Pro Logic IIx and Dolby     Digital Live technologies.

Something really interesting about Dolby Pro Logic II technology it that it allows the system to use 5.1 audio (or 7.1 audio with Dolby Pro Logic IIx) even if the audio source has only two channels (as it happens with CDs, for example), thru the use of a series of filters.

Digital Live technology is the streaming technology from Dolby Labs, used to transfer music that is stored in the PC to a receiver located in your living room thru wireless LAN, for example.

The idea behind these “levels” is to make it easy for the user to know what is the on-board audio quality from the motherboard he (or she) is buying, simply paying attention to what Dolby logo is printed on the box (Sound Room, Home Theater or Master Studio).

We’ve listened to some demos and we were really impressed by Dolby Pro Logic IIx technology, which separates CD audio (which only has 2 channels) into eight channels (7.1 format). The result is really impressive, it look like if the CD was originally recorded using 7.1 audio.
Title: Re: kutipan A-Z seputar audio
Post by: chubyque on Sep 21, 2007, 06:18:41
Headphone Definitions
Sumber : (

Headphones (also known as earphones, stereophones, headsets, or the slang term cans) are a pair of transducers that receive an electrical signal from a media player or receiver and use speakers placed in close proximity to the ears (hence the name earphone) to convert the signal into audible sound waves.

Headphones date from the beginnings of the history of the telephone and the radio. The weak electrical signals of the early instruments were enough to operate only headphones audibly.

They are normally detachable, using a jack plug. Typical products to which they are attached include the walkman, mobile phone, CD player, Minidisc player, digital audio player (MP3 player), and personal computer. Headphones can also be used with full-size stereo components. Some headphone units are self-contained, incorporating a radio receiver. Other headphones are cordless, using radio (for example analogue FM, digital bluetooth, Wi-Fi) or infrared signals to communicate with a "base" unit.

Headphones may be used to prevent other people from hearing the sound either for privacy or to prevent disturbance, as in listening in a public library. They are also used to exclude external sounds, particularly in sound recording studios and in noisy environments. Another advantage of headphones over conventional speakers is that the listener experiences total stereo-separation with no mixing of the left and right channels, helping them pinpoint the 'location' of sounds with much greater accuracy. This is of special relevance to videogames that use 3D positional audio, allowing players to better judge the position of an offscreen sound (such as the footsteps of an opponent). A good example of this 3D positioning in action is the game Battlefield 2 for PC. Headphones are almost required in order to listen for enemies firing around you, or someone sneaking behind you for a quick knife kill.

Headphones generally use a 3.5 mm "mini pin" jack.

Types of headphones
In descending order of size:

These type of headphones have pads that go around the ears, usually very large and very comfortable. This is the type typically used in recording studios. Examples include: AKG K501, Audio-Technica ATH-A900, Beyerdynamic DT880, Sennheiser HD650, Bose Tri-Port Headphones, and Sony MDR-SA5000.

These type of headphones have pads that go on top of the ears. They were commonly bundled with personal stereos during the 1980s. Examples include: Grado SR-60, Koss Sportapro, Sennheiser PX-200.

Earbuds (American English) or Earphones (British English) are small headphones that are placed directly outside of the ear canal, but without fully enveloping it. Earbuds are generally inexpensive and are favored for their portability and convenience. However, due to their inability to provide isolation, they are not capable of delivering the precision and range of sound offered by many full-sized headphones and canalphones.

During the 1990s, they became the most common type bundled with personal stereos. For example, the distinctive white headphones included with the iPod are earbuds.

Professional canalphones (also known as "in-ear monitors") were originally developed for professional audio by Marty Garcia in the early 1980's and designed to be placed inside the ear canal, positioning them closer to the eardrum than other types of headphones. They have excellent isolation quality (up to 32 dBs) because they fit in much the same way as earplugs. Isolation from canalphones is generally superior to that provided by active noise cancellation mechanisms. Hearing aids are a type of canalphone.

Canalphones are traditionally used by live performers as an alternative way of monitoring their music as they allow the performer to protect themselves from the high amount of competitive stage noise present, while mantaining audio fidelity. Their use can eliminate the need for unsightly onstage monitor speakers and feedback problems, and to allow the audience an unobstructed view of the performers. Also, as canalphones can be molded in various colors and sizes, a flesh tone that completely fits inside the ear is commonly preferred by performers for its discreetness.

Despite their roots in live monitoring, canalphones manufacturers have branched out to cater to the audiophile market. Many manufacturers now offer universal fit tips in contrast to the custom ear molds that were the trademark of canalphones which, although offering higher quality, required a trip to a audiologist to make.

A common misconception with canalphones is the higher risk of hearing loss. However, as canalphones block out large amounts of noise, the listener can enjoy his music without being forced to turn it up to a higher level. This is especially true when canalphones are utilized "on the street". With proper discipline, canalphones actually help to prevent hearing loss if the volume is carefully maintained.

The main canalphone manufacturers and their more popular models are :

Driver types
Dynamic drivers use magnetic material attached to a diaphragm that oscillates back and forth. This is the most common type of driver used in headphones.

A thin, electrostatically charged diaphram (typically a coated mylar membrane), is suspended between two perforated metal plates (electrodes). The musical signal is passed through the plates and depending upon the signal, the membrane is drawn towards one of the plates forcing air through the perforations. This continuous movement of the membrane generates the soundwave. Examples of electrostatic headphones are the Stax SR-007 Omega II, and the Sennheiser HE90 "Orpheus".

Balanced armature
Usually used only in canalphones such as sensaphonics.

Open headphones (sometimes marketed as "open air" headphones) have an open grille on the back of the driver, allowing the sound to vent freely. This usually makes open headphones sound better than closed ones of the same cost range. They also expose the user to more outside sound in cases where that is desirable. Examples of open headphones: AKG K-501, Grado RS-1, Sennheiser HD-650.

Closed headphones are just that, closed backing. Usually these are used where isolation is preferred over sound quality. Examples of closed headphones: AKG K271S, Audio Technica ATH-A900, Sennheiser HD 280 Pro, Sony CD3000.

A headband goes over the head. It is usually used with circumaural and supra-aural headphones, but is sometimes used with earbuds or canalphones.

Behind the neck
Behind the neck go behind the neck, and are usually used in portable supra-aural headphones. They do not disturb one's hair like an over-the-head headband does, and can be worn with hats, etc. This now-popular style was newly popularized recently by a particularly trendsetting pair by Sony.

A clip secures the earpiece with a clip that goes behind the outer ear. Usually used with earbuds, but also sometimes used with supra-aural headphones or canalphones.

Many earbuds and canalphones do not need or have anything to secure themselves inside the ear.

Using headphones at a sufficiently high volume level causes temporary or permanent hearing impairment or deafness. Other risks arise from the reduced awareness of external sounds — some jurisdictions regulate the use of headphones while driving vehicles. Also, most European countries have imposed high penalties since 2002 on drivers not using a headset while operating a mobile phone in a car, to ensure that drivers keep their hands on the vehicle's controls.

semoga membantu...
Title: Re: kutipan A-Z seputar audio
Post by: chubyque on Oct 02, 2007, 02:10:08
Definisi Burn-in

quote from min_iqem
Burn-in itu adalah tahap memaksimalkan kemampuan driver, saat pertama keluar dari boks tentunya... Beta neh .. kaya kalo kita beli mobil baru kan ada tahapan anreyen tuh, untuk memaksimalkan kinerja mesin, bodi, ban, dan keseluruhan part mobil tsb hingga sampai akhirnya sesuai dengan spesifikasi/klaim dari si pabrikan itu sendiri....gitu lah gambarannya soal burn-in itu sendiri... applause

caranya beda2, ada yg ninggalin pair tsb dengan memasangnya pada player selama masa tertentu, pada volume tertentu dan source tertentu...kalo dulu waktu awal2 gw ninggalin K24p gw dengan mp3 KoRn yg di reply one, diulang2 terus, kalo skrg gw pake WAVE yg gw ambil dari ada di thread AKG ya...nah, masa burn-in tsb boleh sambil didengerin, boleh ditinggal tidur, terserah... Wink lama waktunya juga terserah, cuma biasanya pair high-end bisa sampe 100jam lebih utk dapet hasil yg maksimal...that's all...

quote from bro hanhan
Kalo secara ilmiah, seandainya speaker.. misal baru beli kan karetna masi kenceng gt. Setelah jalan bbrp lama movement drivernya akan lebih lentur jadi suara yg keluar bisa lebih baik..
Hal yang sama jg akan terjadi dgn earphone/headphone..

Title: Re: kutipan A-Z seputar audio
Post by: iQEM on Nov 06, 2007, 18:33:23
Penjelasan spesifikasi pada ear/headphone

1.frequency response (Hertz)
Rentang respon driver terhadap frekuensi sinyal yang diberikan. Contohnya frequency rensponse 20-30000 Hz, maka sinyal terendah yang dapat dikonversi transducer (dalam hal ini perubah sinyal listrik analog menjadi gelombang suara) adalah 20Hz, dan yang tertinggi 30000Hz.
Tapi nyatanya, walaupun driver bisa merenspon pada frekuensi 20Hz, jika kita beri sinyal 20 Hz, belum tentu dapat terdengar. Karena mungkin levelnya terlalu kecil. Contohnya Yuin PK3 (15-20000Hz), pada saat saya tes dengan file MP3 gelombang 20Hz, hanya terdengar kecil sekali pada volume maksimum(vol 50), dan tidak terdengar sama sekali pada volume normal penggunaan. PK3 mulai terdengar jelas pada frekuensi 35 Hz. Hal ini juga disebabkan karena PK3 memiliki tipe earbuds yang karakternya tanpa isolasi, sehingga kurang dapat menghantar gelombang freq rendah hingga ke gendang telinga. Sedangkan IEM, karena isolasinya mampu memberikan frekuensi yang lebih rendah.

2.impedance (satuan ohm)
Impedansi (atau menurut teknik elektro disebut juga hambatan dalam) adalah nilai resistansi yang terukur pada kutub" sinyal jack earphone. Sesuai rumus V=I*R (V=tegangan, I=arus, R=resistansi). Maka semakin besar hambatan/impedansi, makin besar tegangan yang dibutuhkan, dan makin besar volume pada DAP untuk mencapai volume pemakaian.

3.max power input (satuan miliWatt)
Adalah daya maksimum yang dapat ditanggung oleh driver. Melampaui batas ini, maka driver akan rusak. (lihat max output power pada spec DAP dan amp anda untuk menyesuaikannya).

4.sensitivity (satuan desibel/miliWatt)
Adalah kenaikan level suara per satuan power yang diberikan. Contohnya 100dB/mW, artinya setiap kenaikan 1mW pada DAP atau amp, suara yang dihasilkan naik 100dB. Perlu diingat kenaikan level suara dalam desibel tidak linier.
Jadi makin besar nilai sensitifitas, makin keras suara saat kita menambah volume pada DAP/amp.

Demikian hasil kuliah saya selama ini.. hehe.. CMIIW
Title: Dictionary of Audiophile
Post by: Harlin on Mar 27, 2008, 18:07:22
Berhubung thread lama terhapus, maka pelan2x gue akan kembali mengisi kamus istilah-istilah Audiophile disini.

Untuk sementara ini gue comot dari internet, ada yang mau bantu terjemahkan ke bahasa Indonesia? :D

Untuk menggunakan kamus ini dengan mudah, gunakan find/search ya...

Sebagian besar credit:

Aggressive - Forward and bright sonic character.

Airy - Spacious. Open. Instruments sound like they are surrounded by a large reflective space full of air. Good reproduction of high frequency reflections. High frequency response extends to 15 or 20 kHz.

Ambience - Impression of an acoustic space, such as the performing hall in which a recording was made.

Analytical - Suara yang sangat detail sehingga seluruh instrumen alat musik terdengar sangat jelas dan sesuai dengan bunyi recording aslinya. Lawan kata dari Fun.

Articulate - Intelligibility of voice(s) and instruments and the interactions between them.

Attack - The leading edge of a note and the ability of a system to reproduce the attack transients in music.

Balance - essentially tonal balance, the degree to which one aspect of the sonic spectrum is emphasized above the rest. Also channel balance, the relative level of the left and right stereo channels.

Bass - The audio frequencies between about 60Hz and 250Hz.

Bassy - Emphasized Bass.

Blanketed - Weak highs, as if a blanket were put over the speakers.

Bloated - Excessive mid bass around 250 Hz. Poorly damped low frequencies, low frequency resonances. See tubby.

Blurred - Poor transient response. Vague stereo imaging not focused.

Body - Fullness of sound, with particular emphasis on upper bass. Opposite of thin.

Boomy - Excessive bass around 125 Hz. Poorly damped low frequencies or low frequency resonances.

Boxy - Having resonances as if the music were enclosed in a box. Sometimes an emphasis around 250 to 500 Hz.

Breathy - Audible breath sounds in woodwinds and reeds such as flute or sax. Good response in the upper mids or highs.

Bright - A sound that emphasizes the upper midrange/lower treble. Harmonics are strong relative to fundamentals.

Brilliance - The 6kHz to 16kHz range controls the brilliance and clarity of sounds. Too much emphasis in this range can produce sibilance on the vocals.

Chesty - The vocalist sounds like their chest is too big. A bump in the low frequency response around 125 to 250 Hz.

Clear - See Transparent.

Closed - A closed-in sound lacking in openness, delicacy, air, and fine detail usually caused by Roll-off above 10kHz; in contrast to Open.

Congested- Smeared, confused, muddy, and flat; lacking transparency.

Coloured - Having timbres that are not true to life. Non flat response; peaks or dips.

Cool - Moderately deficient in body and warmth, due to progressive attenuation of frequencies below about 150Hz.

Crisp - Extended high frequency response, especially with cymbals.

Dark - A tonal balance that tilts downwards with increasing frequency. Opposite of bright. Weak high frequencies.

Decay - The fadeout of a note, it follows the attack.

Definition (or resolution) - The ability of a component to reveal the subtle information that is fundamental to high fidelity sound.

Delicate - High frequencies extending to 15 or 20 kHz without peaks.

Depth - A sense of distance (near to far) of different instruments.

Detail - The most delicate elements of the original sound and those which are the first to disappear with lesser equipment.

Detailed - Easy to hear tiny details in the music; articulate. Adequate high frequency response, sharp transient response.

Dry - A sound that is devoid of "juice", which usually comes across as fine grained and lean. Also a loss of reverberation as produced by a damped environment.

Dull - See dark.

Dynamic - The suggestion of energy and wide dynamic. Related to perceived speed as well as contrasts in volume both large and small.

Edgy - Too much high frequency response. Trebly. Harmonics are too strong relative to the fundamentals. Distorted, having unwanted harmonics that add an edge or raspiness.

Euphonic - An appealing form of distortion that generally enhances perceived fidelity, often ascribed to the harmonic elaborations of some valve amps.

Fast - Good reproduction of rapid transients which increase the sense of realism and "snap".

Fat - See Full and Warm. Or, spatially diffuse; a sound is panned to one channel, delayed, and then the delayed sound is panned to the other channel. Or, slightly distorted with analogue tape distortion or tube distortion.

Focus - A strong, precise sense of image projection.

Forgiving - Cacat audio yang kecil saja dari file musik tidak akan terdengar dengan jelas, seakan-akan tidak ada masalah, seperti pada headphone Ultrasone DJ1. Lawan kata dari Revealing.

Forward(ness) - Similar to an aggressive sound, a sense of image being projected in front of the speakers and of music being forced upon the listener. Compare "Laid-back".

Full - Strong fundamentals relative to harmonics. Good low frequency response, not necessarily extended, but with adequate level around 100 to 300 Hz. Male voices are full around 125 Hz; female voices and violins are full around 250 Hz; sax is full around 250 to 400 Hz. Opposite of thin.

Fun - Suara yang mungkin tidak terlalu detail, dan tidak sesuai dengan bunyi recording asli karena pengaruh pada kolorasi suara (lihat Coloured), tapi mungkin lebih enak dan nyaman didengar. Lawan kata dari Analytical.

Gentle - Opposite of edgy. The harmonics (of the highs and upper mids) are not exaggerated, or may even be weak.

Grainy - A slightly raw, exposed sound which lacks finesse. Not liquid or fluid.

Grip - A sense of control and sturdiness in the bass.

Grungy - Lots of harmonic or I.M. (Intermodulation) distortion.

Hard - Too much upper midrange, usually around 3 kHz. Or, good transient response, as if the sound is hitting you hard. Uncomfortable, forward, aggressive sound with a metallic tinge.

Harsh - Grating, abrasive. Too much upper midrange. Peaks in the frequency response between 2 and 6 kHz. Or, excessive phase shift in a digital recorder's low pass filter.

Headstage - The perception of the Soundstage while listening to headphones.

Highs - The audio frequencies above about 6000 Hz.

High Midrange (High Mids, Upper Mids) - The audio frequencies between about 2kHz and 6kHz.

Honky - Like cupping your hands around your mouth. A bump in the response around 500 to 700 Hz.

Imaging - The sense that a voice or instrument is in a particular place in the room.

Juicy - Sound that has joie de vivre, energy and life.

Laid-back - Recessed, distant-sounding, having exaggerated depth, usually because of a dished midrange. Compare "Forward".

Low Level Detail - The quietest sounds in a recording.

Low Midrange (Low Mids) - The audio frequencies between about 250Hz and 2000Hz.

Mellow - Reduced high frequencies, not edgy.

Midrange (Mids) - The audio frequencies between about 250 Hz and 6000 Hz.

Muddy - Not clear. Weak harmonics, smeared time response, I.M. distortion.

Muffled - Sounds like it is covered with a blanket. Weak highs or weak upper mids.

Musical (or musicality) - A sense of cohesion and subjective "rightness" in the sound.

Nasal - Honky, a bump in the response around 600 Hz.

Naturalness - Realism.

Opaque - Unclear, lacking transparency.

Open - Sound which has height and "air", relates to clean upper midrange and treble.

Pace - Often assoc. with rhythm, a strong sense of timing and beat.

Piercing - Strident, hard on the ears, screechy. Having sharp, narrow peaks in the response around 3 to 10 kHz.

PRaT - Pace, Rhythm and Timing

Presence Range - The presence range between 4kHz and 6kHz is responsible for the clarity and definition of voices and instruments. Increasing this range can make the music seem closer to the listener. Reducing the 5kHz content makes the sound more distant and transparent.

Presence - A sense that the instrument in present in the listening room. Synonyms are edge, punch, detail, closeness and clarity. Adequate or emphasized response around 5 kHz for most instruments, or around 2 to 5 kHz for kick drum and bass.

Puffy - A bump in the response around 500 Hz.

Punchy - Good reproduction of dynamics. Good transient response, with strong impact. Sometimes a bump around 5 kHz or 200 Hz.

Range - The distance between the lowest and highest tones.

Resolution (Resolving) - See Definition

Revealing - Membuat cacat audio yang kecil saja dari file musik akan terdengar sangat jelas, seperti kasus pada Yuin PK1. Lawan kata dari Forgiving.

Rich - See Full. Also, having euphonic distortion made of even order harmonics.

Roll-off (Rolloff) - The gradual attenuation that occurs at the lower or upper frequency range of a driver, network, or system. The roll-off frequency is usually defined as the frequency where response is reduced by 3 dB.

Round - High frequency rolloff or dip. Not edgy.

Rhythm - The controlled movement of sounds in time.

Seismic - Very low bass that you feel rather than hear.

Shrill - Strident, steely.

Sibilant - "Essy" Exaggerated "s" and "sh" sounds in singing, caused by a rise in the response around 6 to 10 kHz. Often heard on radio.

Sizzly - See Sibilant. Also, too much highs on cymbals.

Smeared - Lacking detail. Poor transient response, too much leakage between microphones. Poorly focused images.

Smooth - Easy on the ears, not harsh. Flat frequency response, especially in the midrange. Lack of peaks and dips in the response.

Snap - A system with good speed and transient response can deliver the immediacy or "snap" of live instruments.

Soundstage - The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.

Spacious - Conveying a sense of space, ambiance, or room around the instruments. Stereo reverb. Early reflections.

Speed - A fast system with good pace gives the impression of being right on the money in its timing.

Steely - Emphasized upper mids around 3 to 6 kHz. Peaky, non flat high frequency response. See Harsh, Edgy.

Strident - See Harsh, Edgy.

Sturdy - Solid, powerful, robust sound.

Sub-Bass - The audio frequencies between about 20Hz and 80Hz.

Sweet - Not strident or piercing. Delicate. Flat high frequency response, low distortion. Lack of peaks in the response. Highs are extended to 15 or 20 kHz, but they are not bumped up. Often used when referring to cymbals, percussion, strings, and sibilant sounds.

Telephone Like - See Tinny.

Thick - A lack of articulation and clarity in the bass.

Thin - Fundamentals are weak relative to harmonics. Bass light.

Tight - Good low frequency transient response and detail.

Timbre - The tonal character of an instrument

Timing - A sense of precision in tempo.

Tinny - Narrowband, weak lows, peaky mids. The music sounds like it is coming through a telephone or tin can.

Tone - The sound of definite pitch.

Transient - The leading edge of a percussive sound. Good transient response makes the sound as a whole more live and realistic.

Transparent - Easy to hear into the music, detailed, clear, not muddy. Wide flat frequency response, sharp time response, very low distortion and noise. A hear through quality that is akin to clarity and reveals all aspects of detail.

Tubby - Having low frequency resonances as if you're singing in a bathtub. See bloated.

Upper Midrange (Upper Mids, High Mids) - The audio frequencies between 2 kHz and 6 kHz.

Veiled - Like a silk veil is over the speakers. Slight noise or distortion or slightly weak high frequencies. Loss of detail due to limited transparency.

Warm - Good bass, adequate low frequencies, adequate fundamentals relative to harmonics. Not thin. Also excessive bass or mid bass. Also, pleasantly spacious, with adequate reverberation at low frequencies. Also see Rich, Round. Warm highs means sweet highs.

Weighty - Good low frequency response below about 50 Hz. A sense of substance and underpinning produced by deep, controlled bass. Suggesting an object of great weight or power, like a diesel locomotive.

Woolly - Loose, ill-defined bass.
Title: Re: Dictionary of Audiophile
Post by: iQEM on Mar 27, 2008, 18:13:31
yaaayyy, semangat Lin... ;D anyway langsung gw sticky ya... ;)
Title: Re: Dictionary of Audiophile
Post by: ian_trooper on Mar 27, 2008, 18:14:14
Ini dia yg ditunggu tunggu. Good Jobs bro harlin  :D
Title: Re: Dictionary of Audiophile
Post by: piak on Mar 27, 2008, 18:15:28
makasih banyak bro........
harlin emang top habis
Title: Re: Dictionary of Audiophile
Post by: Harlin on Mar 27, 2008, 18:41:41
Ahem, tambah lagi...
Mungkin ada yang duplicate dari yang diatas.
Wah musti displit nih, max 3000 character 1 post.

Credits to


A-B Test: A test between two components. For example, a test between two different pre-amplifiers. For the test to be scientifically valid the levels should be matched.

ABX Comparator: A device that randomly selects between two components being tested. The listener doesn't know which device is being listened to.

AC3: See Dolby Digital

Acoustic suspension: A sealed or closed box speaker enclosure.

AES/EBU: Balanced digital connection. For example, used to connect a CD transport to a DAC. The AES/EBU standard uses XLR type connectors.

Alignment: A class of enclosure parameters that provides optimum performance for a woofer with a given value of Q.

Alpha: Term used in sealed enclosure designs to mean the ratio of Vas to Vb, where Vb is the volume of the box you will build.

Alternating Current (AC): An electrical current that periodically changes in magnitude and direction.

Ambience: The acoustic characteristics of a space with regard to reverberation. A room with a lot of reverb is said to be "live"; one without much reverb is "dead."

Ampere (A): The unit of measurement for electrical current in coulombs per second. There is one ampere in a circuit that has one ohm resistance when one volt is applied to the circuit. See Ohms Law.

Amplifier (Amp): A device which increases signal level. Many types of amplifiers are used in audio systems. Amplifiers typically increase voltage, current or both.

Amplifier classes: Audio power amplifiers are classified primarily by the design of the output stage. Classification is based on the amount of time the output devices operate during each cycle of signal swing. Also defined in terms of output bias current, (the amount of current flowing in the output devices with no signal).

    * Class A operation is where both devices conduct continuously for the entire cycle of signal swing, or the bias current flows in the output devices at all times. The key ingredient of class A operation is that both devices are always on. There is no condition where one or the other is turned off. Because of this, class A amplifiers are single-ended designs with only one type polarity output devices. Class A is the most inefficient of all power amplifier designs, averaging only around 20%. Because of this, class A amplifiers are large, heavy and run very hot. All this is due to the amplifier constantly operating at full power.The positive effect of all this is that class A designs are inherently the most linear, with the least amount of distortion.

    * Class B operation is the opposite of class A. Both output devices are never allowed to be on at the same time, or the bias is set so that current flow in a specific output device is zero when not stimulated with an input signal, i.e., the current in a specific output flows for one half cycle. Thus each output device is on for exactly one half of a complete sinusoidal signal cycle. Due to this operation, class B designs show high efficiency but poor linearity around the crossover region. This is due to the time it takes to turn one device off and the other device on, which translates into extreme crossover distortion. Thus restricting class B designs to power consumption critical applications, e.g., battery operated equipment, such as 2-way radio and other communications audio.

    * Class AB operation allows both devices to be on at the same time (like in class A), but just barely. The output bias is set so that current flows in a specific output device appreciably more than a half cycle but less than the entire cycle. That is, only a small amount of current is allowed to flow through both devices, unlike the complete load current of class A designs, but enough to keep each device operating so they respond instantly to input voltage demands. Thus the inherent non-linearity of class B designs is eliminated, without the gross inefficiencies of the class A design. It is this combination of good efficiency (around 50%) with excellent linearity that makes class AB the most popular audio amplifier design.

    * Class AB plus B design involves two pairs of output devices: one pair operates class AB while the other (slave) pair operates class B.

    * Class D operation is switching, hence the term switching power amplifier. Here the output devices are rapidly switched on and off at least twice for each cycle.  Since the output devices are either completely on or completely off they do not theoretically dissipate any power.  Consequently class D operation is theoretically 100% efficient, but this requires zero on-impedance switches with infinitely fast switching times -- a product we're still waiting for; meanwhile designs do exist with true efficiencies approaching 90%.

    * Class G operation involves changing the power supply voltage from a lower level to a higher level when larger output swings are required. There have been several ways to do this. The simplest involves a single class AB output stage that is connected to two power supply rails by a diode, or a transistor switch. The design is such that for most musical program material, the output stage is connected to the lower supply voltage, and automatically switches to the higher rails for large signal peaks. Another approach uses two class AB output stages, each connected to a different power supply voltage, with the magnitude of the input signal determining the signal path. Using two power supplies improves efficiency enough to allow significantly more power for a given size and weight. Class G is becoming common for pro audio designs.
    * Class H operation takes the class G design one step further and actually modulates the higher power supply voltage by the input signal. This allows the power supply to track the audio input and provide just enough voltage for optimum operation of the output devices. The efficiency of class H is comparable to class G designs.

Attenuate: To reduce in level.

Analog: Before digital, the way all sound was reproduced.

Aperiodic: Refers to a type of bass-cabinet loading. An aperiodic enclosure type usually features a very restrictive, (damped), port. The purpose of this restrictive port is not to extend bass response, but lower the Q of the system and reduce the impedance peak at resonance. Most restrictive ports are heavily stuffed with fiberglass, dacron or foam.

Audiophile: A person interested in sound reproduction.

AWS: Adaptive Woofer System, trademark of ACI. An active woofer system with built in user adjustable equalization capabilities.

Baffle:   A surface used to mount a loudspeaker.

Balanced: Referring to wiring: Audio signals require two wires. In an unbalanced line the shield is one of those wires. In a balanced line, there are two wires plus the shield. For the system to be balanced requires balanced electronics and usually employs XLR connectors. Balanced lines are less apt to pick up external noise. This is usually not a factor in home audio, but is a factor in professional audio requiring hundreds or even thousands of feet of cabling. Many higher quality home audio cables terminated with RCA jacks are balanced designs using two conductors and a shield instead of one conductor plus shield.

Bandwidth: The total frequency range of any system. Usually specified as something like: 20-20,000Hz plus or minus 3 db.

Band-pass Enclosure:  A multi-chambered ported system.

Band-pass filter: An electric circuit designed to pass only middle frequencies.

Bass Blockers: Commercial name for auto-sound first order high pass crossovers (non-polarized capacitors), generally used on midbass or dash speakers to keep them from trying to reproduce deep bass.

Bass Reflex: A type of loudspeaker that uses a port or duct to augment the low-frequency response. Opinions vary widely over the "best" type of bass cabinet, but much has to do with how well a given design, such as a bass reflex is implemented. 

Beaming:   A tendency of a loudspeaker to concentrate the sound in a narrow path instead of spreading it.

Bessel crossover: A type of crossover design characterized by having a linear or maximally flat phase response.  Linear phase response results in constant time-delay (all frequencies within the passband are delayed the same amount). Consequently the value of linear phase is it reproduces a near-perfect step response with no overshoot or ringing. The downside of the Bessel  is a slow roll-off rate. The same circuit complexity in a Butterworth response rolls off much faster.

Bi-amplify: The use of two amplifiers, one for the lows, one for the highs in a speaker system. Could be built into the speaker design or accomplished with the use of external amplifiers and electronic crossovers.

Bi-wiring: The use of two pairs of speaker wire from the same amplifier to separate bass and treble inputs on the speaker.

BNC: A type of connection often used in instrumentation and sometimes in digital audio. BNC connectors sometimes are used for digital connections such as from a CD Transport to the input of a DAC.

Boomy:  Listening term, refers to an excessive bass response that has a peak(s) in it.

Bright: Listening term. Usually refers to too much upper frequency energy.

Bridging:   Combining both left and right stereo channels on an automotive amplifier into one higher powered mono channel. When an amplifier is bridged, the impedance that the amplifier actually "sees" is calculated based upon the output of both stereo channels. Here is a simple formula to help define this:

Bridged Mono Impedance = (Y / X)/2

Y = impedance of driver(s) (both drivers should be identical)

X = # of drivers in circuit

One 4 ohm sub in bridged mono is equal to hooking up two 2 ohm subs in stereo, one to each channel.

Butterworth crossover: A type of crossover circuit design having a maximally flat magnitude response, i.e., no amplitude ripple in the passband. This circuit is based upon Butterworth functions, also know as Butterworth polynomials.

Cabin gain:  The low frequency boost normally obtained inside a vehicle interior when subs are properly mounted.

Capacitor:  A device made up of two metallic plates separated by a dielectric (insulating material). Used to store electrical energy in the electrostatic field between the plates. It produces an impedance to an ac current.

Center Channel:  In home theater, sound decoded from the stereo signal sent to a speaker mounted in front of the listener, specially designed to enhance voices and sound effects from a movie soundtrack. Used in car audio to help offset skewed stereo imaging due to seating positions in the automotive environment.

Channel Balance: In a stereo system, the level balance between left and right channels. Properly balanced, the image should be centered between the left-right speakers. In a home-theater system, refers to achieving correct balance between all the channels of the system.

Clipping: Refers to a type of distortion that occurs when an amplifier is driven into an overload condition. Usually the "clipped" waveform contains an excess of high-frequency energy. The sound becomes hard and edgy. Hard clipping is the most frequent cause of "burned out" tweeters. Even a low-powered amplifier or receiver driven into clipping can damage tweeters which would otherwise last virtually forever.

Class A,  Class A-B etc.: In a sense,amplifying the audio signal means using the wall-current (usually either 120 or 240 volts) to increase the amplitude of the audio signal from mill-watts to watts. Different classes of amplifiers accomplish this in different ways. Turning a vacuum tube "on" or "off" with current demand increases the efficiency of the amplifier but may add switching distortion. A Class A amplifier is relatively inefficient, converting much energy to heat, but has no switching distortion.

Cms: Mechanical suspension compliance of a driver, consisting of the spider and surround.

Co-axial: A speaker type that utilizes a tweeter mounted at the center of a woofer cone. The idea being to have the sound source through the full frequency range become "coincident".

Coaxial Driver: a speaker composed of two individual voice coils and cones; used for reproduction of sounds in two segments of the sound spectrum. See also triaxial driver.

Coherence: Listening term. Refers to how well integrated the sound of the system is.

Coloration: Listening term. A visual analog. A "colored" sound characteristic adds something not in the original sound. The coloration may be euphonically pleasant, but it is not as accurate as the original signal.

Compliance:  The relative stiffness of a speaker suspension, specified as Vas.

Compression: In audio, compression means to reduce the dynamic range of a signal. Compression may be intentional or one of the effects of a system that is driven to overload.

Crossover: A frequency divider. Crossovers are used in speakers to route the various frequency ranges to the appropriate drivers. Additionally, many crossovers contain various filters to stabilize the impedance load of the speaker and or shape the frequency response. Some crossovers contain levels controls to attenuate various parts of the signal.

A passive crossover uses capacitors, coils and resistors, usually at speaker level. A passive crossover is load dependent (the transition may not be very smooth or accurate if a different speaker is substituted for the one the crossover was designed for).

An active crossover is based on integrated circuits (ICs), discreet transistors or tubes. An active crossover is impedance buffered and gives a consistent and accurate transition regardless of load.

Crossover Slope: High and low pass filters used for speakers do not cut-off frequencies like brick walls. The rolloff occurs over a number of octaves. Common filter slopes for speakers are 1st through 4th order corresponding to 6db/oct to 24db/oct. For example, a 1st. order, 6db/oct high pass filter at 100hz will pass 6db less energy at 50Hz and 12db less energy at 25Hz. Within the common 1st through 4th filters there is an endless variety of types including Butterworth, Linkwitz-Riley, Bessel, Chebychev, etc. Salesmen and product literature will sometimes make claims of clear superiority for the filter used in the product they are trying to sell. Since the subject fills books, suffice it to say that there is no one best filter, it depends on application and intended outcome. Good designers use the filters required to get the optimum performance from the system.

Cross-talk: Unwanted breakthrough of one channel into another. Also refers to the distortion that occurs when some signal from a music source that you are not listening to leaks into the circuit of the source that you are listening to.

Current (I): The flow of electrical charge measured in amperes.

Title: Re: Dictionary of Audiophile
Post by: Harlin on Mar 27, 2008, 18:42:20

DAC: A Digital to Audio Converter. Converts a digital bitstream to an analog signal. Can be a separate "box" that connects between a CD Transport or CD Player and a pre-amplifier.

Damping (Damping factor, etc.): Refers to the ability of an audio component to "stop" after the signal ends. For example, if a drum is struck with a mallet, the sound will reach a peak level and then decay in a certain amount of time to no sound. An audio component that allows the decay to drag on too long has poor damping, and less definition than it should. An audio component that is overdamped does not allow the initial energy to reach the full peak and cuts the decay short. "Boomy" or "muddy" sound is often the result of underdamped systems. "Dry" or "lifeless" sound may be the result of an overdamped system.   

D'Appolito: Joe D'Appolito is credited with popularizing the MTM (Midrange-Tweeter-Midrange) type of speaker.

Decibel (dB): Named after Alexander Graham Bell. We perceive differences in volume level in a logarithmic manner. Our ears become less sensitive to sound as its intensity increases. Decibels are a logarithmic scale of relative loudness. A difference of approx. 1 dB is the minimum perceptible change in volume, 3 dB is a moderate change in volume, and about 10 dB is an apparent doubling of volume

    * 0 dB is the threshold of hearing, 130 dB is the threshold of pain.
    * Whisper: 15-25 dB
    * Quiet background: about 35 dB
    * Normal home or office background: 40-60 dB
    * Normal speaking voice: 65-70 dB
    * Orchestral climax: 105 dB
    * Live Rock music: 120 dB+
    * Jet aircraft: 140-180 dB

Diaphragm:  The part of a dynamic loudspeaker attached to the voice coil that moves and produces the sound. It usually has the shape of a cone or dome.

Diffraction:  A change in the direction of a wave front that is caused by the wave moving past an obstacle.

Dipole: An open-back speaker that radiates sound equally front and rear. The front and rear waves are out of phase and cancellation will occur when the wavelengths are long enough to "wrap around". The answer is a large, wide baffle or to enclose the driver creating a monopole.

Direct Current (DC): Current that moves in only one direction.

Dispersion: The spreading of sound waves as they leave a source. The spreading of sound waves as they leave a source.

Distortion: Anything that alters the musical signal. There are many forms of distortion, some of which are more audible than others. Distortion specs are often given for electronic equipment which are quite meaningless. As in all specifications, unless you have a thorough understanding of the whole situation, you will not be able to make conclusions about the sonic consequences.

DIY: Abbreviation for Do - It - Yourself. In audio, the most common DIY is building speakers but some hobbyists build everything from pre-amps to amplifiers to DACs.

Dolby Digital: Is a five-channel system consisting of left, center, right and left rear, right rear channels. All processing is done in the digital domain. Unlike Dolby Prologic in which the rear effects channels are frequency limited to approx. 100-7000Hz, Dolby Digital rear channels are specified to contain the full 20-20Khz frequency content. The AC3 standard also has a separate subwoofer channel for the lowest frequencies.

Dolby Digital EX Surround: Also referred to as Dolby Digital 6.1, adds a rear, center channel to the existing left, center, right and rear speakers. This format requires a 6.1 processor or receiver and DVDs that are 6.1 encoded.

Dolby Prologic: Is a four-channel system consisting of left, center, right and rear channel, (the single rear channel is usually played through two speakers).

Dome Tweeter:  A high frequency speaker with a dome-shaped diaphragm.A high frequency speaker with a dome-shaped diaphragm.

Double (Dual) Voice Coil (DVC): A voice coil with two windings, generally used in woofers. Each voice coil can be connected to a stereo channel, or both voice coils can be wired in parallel or series to a single channel.

DTS: Digital Theater System. A multi-channel encoding/decoding system. Used in some movie theaters. Also now included in some home-theater processors. A competitor to Dolby Digital.

DSP: Digital Signal Processing. DSP can be used to create equalization, compression, etc. of a digital signal.

DVD: Digital Video Disc or Digital Versatile Disc. A relatively new standard that seeks to combine better-than-laser-disc quality video with better-than-CD quality audio in a disc the size of a CD. Requires special players. Seems to be a viable candidate to replace both Laser Discs and CDs, but the jury is still out.

Dynamic Headroom: The ability of an audio device to respond to musical peaks. For example, an amplifier may only be capable of a sustained 100 watts, but may be able to achieve peaks of 200 watts for the fraction of a second required for an intense, quick sound. In this example the dynamic headroom would equal 3 db.

Dynamic range: The range between the loudest and the softest sounds that are in a piece of music, or that can be reproduced by a piece of audio equipment without distortion (a ratio expressed in decibels). In speech, the range rarely exceeds 40 dB; in music, it is greatest in orchestral works, where the range may be as much as 75 dB.

EBP: Efficiency Bandwidth Product. A guide that helps a designer determine whether a driver is more suitable for a sealed or ported enclosure. EBP of less than 50 indicates the driver should be used in a sealed, 50 - 90 indicates flexible design options, over 90 indicates best for a ported enclosure. EBP = Fs / Qes

Efficiency rating: The loudspeaker parameter that gives the level of sound output when measured at a prescribed distance with a standard level of electrical energy fed into the speaker. The loudspeaker parameter that gives the level of sound output when measured at a prescribed distance with a standard level of electrical energy fed into the speaker.

Electronic Crossover: Uses active circuitry to send signals to appropriate drivers. More efficient than passive crossovers. Uses active circuitry to send signals to appropriate drivers. More efficient than passive crossovers.

Electrostatic Speaker: A speaker that radiates sound from a large diaphragm that is suspended between high-voltage grids.

Equalizer:  Electronic set of filters used to boost or attenuate certain frequencies.

Euphonic: Pleasing. As a descriptive audio term, usually refers to a coloration or inaccuracy that non-the-less may be sonically pleasing.

Extension: How extended a range of frequencies the device can reproduce accurately. Bass extension refers to how low a frequency tone will the system reproduce, high-frequency extension refers to how high in frequency will the system play.

Farad: The basic unit of capacitance. A capacitor has a value of one farad when it can store one coulomb of charge with one volt across it.

Fb: The tuned frequency of a ported box.

Fc or Fcb:The system resonance frequency of a driver in a sealed box. The system resonance frequency of a driver in a sealed box.

Filter:An electrical circuit or mechanical device that removes or attenuates energy at certain frequencies. . An electrical circuit or mechanical device that removes or attenuates energy at certain frequencies. .

Flat Response:The faithful reproduction of an audio signal; specifically, the variations in output level of less than 1 dB above or below a median level over the audio spectrum.

F3: The roll-off frequency at which the driver's response is down -3dB from the level of it's midband response.

Fletcher-Munson curve: Our sensitivity to sound depends on its frequency and volume. Human ears are most sensitive to sounds in the midrange. At lower volume levels humans are less sensitive to sounds away from the midrange, bass and treble sounds "seem" reduced in intensity at lower listening levels.

Free Air Resonance: The natural resonant frequency of a driver when operating outside an enclosure.

Frequency: The range of human hearing is commonly given as 20-20,000Hz (20Hz-20kHz). One hertz (Hz) represents one cycle per second, 20Hz represents 20 cycles per second and so on. Lower numbers are lower frequencies

Fs: The frequency of resonance for a driver in free air.

Full-range: A speaker designed to reproduce all or most of the sound spectrum.

Fundamental: The lowest frequency of a note in a complex wave form or chord.
Title: Re: Dictionary of Audiophile
Post by: Harlin on Mar 27, 2008, 18:42:40

Gain: To increase in level. The function of a volume control.

Golden Ratio: The ratio of depth, width, and height based on the Greek Golden Rectangle. Often applied to speaker boxes or listening room design. The Ratio: W = 1.0, Depth = 0.618W, Height = 1.618W. The ratio of depth, width, and height based on the Greek Golden Rectangle. Often applied to speaker boxes or listening room design. The Ratio: W = 1.0, Depth = 0.618W, Height = 1.618W.

Grain: Listening term. A sonic analog of the grain seen in photos. A sort of "grittiness" added to the sound.

Ground: Refers to a point of (usually) zero voltage, and can pertain to a power circuit or a signal circuit. In car audio, the single most important factor to avoid unwanted noise is finding and setting a good ground.

Haas effect: If sounds arrive from several sources, the ears and brain will identify only the nearest. In other words, if our ears receive similar sounds coming from various sources, the brain will latch onto the sound that arrives first. If the time difference is up to 50 milliseconds, the early arrival sound can dominate the later arrival sound, even if the later arrival is as much as 10 dB louder. The discovery of this effect is attributed to Halmut Haas in 1949.

Harmonics: Also called overtones, these are vibrations at frequencies that are multiples of the fundamental. Harmonics extend without limit beyond the audible range. They are characterized as even-order and odd-order harmonics. A second-order harmonic is two times the frequency of the fundamental; a third order is three times the fundamental; a fourth order is four times the fundamental; and so forth. Each even-order harmonic: second, fourth, sixth, etc.-is one octave or multiples of one octave higher than the fundamental; these even-order overtones are therefore musically related to the fundamental. Odd-order harmonics, on the other hand: third, fifth, seventh, and up-create a series of notes that are not related to any octave overtones and therefore may have an unpleasant sound. Audio systems that emphasize odd-order harmonics tend to have a harsh, hard quality.

HDCD: High-Definition Compact Disc. A proprietary system by Pacific Microsonics that requires special encoding during the recording process. Some observers report HDCD discs as having better sound. To gain the benefits requires having special HDCD in your CD player.

Headroom: The ability of an amp to go beyond its rated power for short durations in order to reproduce musical peaks without distortion. This capability is often dependent on the power supply used in the design.

Head Unit: The in dash control center of a car audio system, usually consisting of an internal low powered amp, AM/FM receiver, and either a tape or CD player (or both).

Hearing Sensitivity: The human ear is less sensitive at low frequencies than in the midrange. Turn your volume knob down and notice how the bass seems to"disappear". To hear low bass requires an adequate SPL level. To hear 25Hz requires a much higher SPL level than to hear 250Hz. In the REAL world, low frequency sounds are reproduced by large objects; bass drums, string bass, concert grand pianos, etc. Listen to the exhaust rumble of a 454 cubic inch V8 engine vs. the whine of the little four banger. The growl of a lion vs. the meow of your favorite kitty. As frequency decreases we perceive more by feel than actual hearing and we lose our ability to hear exact pitch.

Hertz (Hz): A unit of measurement denoting frequency, originally measured as Cycles Per Second, (CPS): 20 Hz = 20 CPS. Kilohertz (kHz) are hertz measured in multiples of 1,000.

High-Pass Filter: A circuit that allows high frequencies to pass but rolls off the low frequencies. When adding a subwoofer it is often desirable to roll-off the low frequencies to the main amplifiers and speakers. This will allow the main speakers to play louder with less distortion. High-pass filters used at speaker level are usually not very effective unless properly designed for a specific main speaker (see impedance below).

Hiss:  Audio noise that sounds like air escaping from a tire.

Home Theater:  An audio system designed to reproduce the theater sound experience while viewing film at home. Minimally consisting of a Dolby Pro Logic® surround sound receiver, left and right front speakers, a center channel speaker, and two surround speakers. These plus optional subwoofer(s), surround speaker(s), and digital formats such as Dolby Digital® can enhance the viewing experience by drastically improving the sound quality of movie soundtracks.

Hum: Audio electronic noise that has a steady low frequency pitch.

Imaging: Listening term. A good stereo system can provide a stereo image that has width, depth and height. The best imaging systems will define a nearly holographic re-creation of the original sound

Impedance: Impedance is a measure of electrical resistance specified in ohms. Speakers are commonly listed as 4 or 8 ohms but speakers are reactive devices and a nominal 8 ohm speaker might measure from below 4 ohms to 60 or more ohms over its frequency range. This varying impedance curve is different for each speaker model and makes it impossible to design a really effective "generic" speaker level high-pass filter. Active devices like amplifiers typically have an input impedance between about 10,000-100,000 ohms and the impedance is the same regardless of frequency.

Inductance (L): The capability of a coil to store energy in a magnetic field surrounding it. It produces an impedance to an ac current. Inductors are commonly used in audio as low pass crossovers.

Infinite Baffle: A baffle that completely isolates the back wave of a driver from the front without a standard enclosure.

Infrasonic (Subsonic) Filter: A filter designed to remove extremely low frequency (25Hz or lower) noise from the audio signal. Useful for Ported box designs.

Interconnects: Cables that are used to connect components at a low signal level. Examples include CD player to receiver, pre-amplifier to amplifier, etc. Most interconnects use a shielded construction to prevent interference. Most audio interconnects use RCA connections although balanced interconnects use XLR connections.

Isobarik Enclosure:  A trade name for a compound enclosure.
Title: Re: Dictionary of Audiophile
Post by: Harlin on Mar 27, 2008, 18:43:18

Jitter: A tendency towards lack of synchronization caused by electrical changes. Technically the unexpected (and unwanted) phase shift of digital pulses over a transmission medium. A discrepancy between when a digital edge transition is supposed to occur and when it actually does occur - think of it as nervous digital, or maybe a digital analogy to wow and flutter.

Kevlar: Material developed by Dupont that is has an exceptional strength to weight ratio. Used extensively in bullet-proof vests, skis, sailboat hulls, etc. In audio, used in many variations for speaker cones.

Kilohertz (kHz):  One thousand hertz.

Le:  The inductance of a driver's voice coil, typically measured at 1 kHz in millihenries (mH).

Line Level: CD players, VCRs, Laserdisc Players etc., are connected in a system at line level, usually with shielded RCA type interconnects. Line level is before power amplification. In a system with separate pre-amp and power-amp the pre-amp output is line level. Many surround sound decoders and receivers have line level outputs as well.

Line-Source: A speaker device that is long and tall. Imagine a narrow dowel dropped flat onto the water's surface. The line-source has very limited vertical dispersion, but excellent horizontal dispersion.

Lobing: Any time more than one speaker device covers the same part of the frequency range there will be some unevenness in the output. (Picture the waves from one pebble dropped into a calm pool vs. two pebbles dropped several inches apart.) Lobing means that the primary radiation pattern(s) is at some angle above or below the centerline between the two drivers. Good crossover design takes this into account.

Low Frequency Extension: Manufacturers, writers and salespeople toss around all kinds of numbers and terminology that can be very confusing and misleading. "This $300 shoebox sized sub is flat to 20Hz". Right, in your dreams . . . How is that cheap, tiny box and driver going to reproduce a 56 foot wavelength with enough power to be heard? It will not to it. Good bass reproduction requires moving a lot of air and playback at realistic volumes. Remember the rule of needing to move four times the air to go down one octave. Example: You have a pair of good quality tower speakers with 10" woofers that produce good bass down to around 40Hz. The salesman is telling you that his little subwoofer with a single 10" woofer will extend your system down to 20Hz. If you've been paying attention, you know that his woofer will have to move eight times as much air as each of your 10" woofers, not likely. Adding that subwoofer to your system might give you more apparent bass energy, and in fact may help a little with movie special effects, but it is unlikely to extend bass response significantly.

Low-Pass Filter: A circuit that allows low frequencies to pass but rolls off the high frequencies. Most subwoofers have low-pass filters built in and many surround sound decoders have subwoofer outputs that have been low-pass filtered.

Loudness: Perceived volume. Loudness can be deceiving. For example, adding distortion will make a given volume level seem louder than it actually is.

Magnetic-Planar Speakers: A type of speaker that uses a flat diaphragm with a voice coil etched or bonded to it to radiate sound. If the magnets are both in front of and behind the diaphragm, it becomes a push-pull magnetic-planar.

Maximum power rating: A meaningless specification.

Microfarads (mF): A measurement of capacitance.

Midbass: Mid frequency bass, usually frequencies just above the sub-bass range, from around 100 - 400 Hz or so.

Midrange: A speaker, (driver),  used to reproduce the middle range of frequencies.  A midrange is combined with a woofer for low frequencies and a tweeter for high frequencies to form a complete, full-range system.

Millihenries (mH): A measurement of inductance.

Monopole: Any speaker that encloses the backwave of the speaker device even though part of this backwave may be released via. a port or duct. The primary radiation at most frequencies will be from the driver front. If the driver is not enclosed it becomes a dipole.

MOSFET: Metal Oxide Semiconductor Field Effect Transistors. Used in most modern, quality car audio amplifiers in the power supply (and sometimes in the output stage). MOSFET's run cooler than normal bipolar transistors, and have a faster switching speed.

Muddy: Listening term. A sound that is poorly defined, sloppy or vague. For example, a "muddy" bass is often boomy with all the notes tending to run together.

Muting: To greatly decrease the volume level. Many receivers and pre-amplifiers have a muting control which allows the volume level to be cut way down without changing the master volume control. Great for when the phone rings.

Nonlinearity: What goes into a system comes out changed by its passage through that system-in other words, distorted. The ideal of an audio component and an audio system is to be linear, or nondistorting, with the image on one side of the mirror identical to the image on the other side.

Octave: An octave is a doubling or halving of frequency. 20Hz-40Hz is often considered the bottom octave. Each octave you add on the bottom requires that your speakers move four times as much air!

Ohm: A unit of electrical resistance or impedance.

Ohm's Law: The basic law of electric circuits. It states that the current in amperes in a circuit is equal to the voltage [E] in volts divided by the resistance [R] in ohms; thus, I = E/R.

Out of Phase: When speakers are mounted in reverse polarity, i.e., one speaker is wired +/+ and -/- from the amp and the other is wired +/- and -/+. Bass response will be very thin due to cancellation.

Output: The sound level produced by a loudspeaker. The sound level produced by a loudspeaker.

Overload: A condition in which a system is given too high of an input level. A common cause of distortion or product failure.

Overtones: See Harmonics.
Title: Re: Dictionary of Audiophile
Post by: Harlin on Mar 27, 2008, 18:43:59

Passive Crossover: Uses inductors (coils) and capacitors to direct proper frequencies to appropriate drivers. These crossover systems can be simple (First Order = 1 component @ -6 dB/octave slope) to complex (Fourth Order = 4 components @ -24 dB/octave slope).

Passive Radiator:  A device that looks just like an ordinary driver, except it has no magnet or voice coil. A passive radiator is usually a highly compliant device, with a similar cone material and surround found on regular active drivers. The radiator must usually be at least as large (or larger) than the driver it is aligned with. The passive radiator is tuned to Fb and used in place of a port.

PCM: Pulse Code Modulation. A means of digital encoding.

Pe:  Driver's rated RMS power handling capability.

Peak:  The maximum amplitude of a voltage or current.

Peak power rating: Another meaningless specification unless references are given..

Peak-to-Peak power rating: See above.

Phase Coherence:  The relationship and timing of sounds that come from different drivers (subs, mids, tweets) mounted in different locations.

Phase Distortion: A type of audible distortion caused by time delay between various parts of the signal.

Planar Source: Most electrostatics and magnetic planars have a large surface area. Think of a wide board dropped flat onto the water surface. The sound can be extremely coherent, but the listening window is effectively limited to being directly on-axis of both the left and right planar speaker.

Point-Source: Most multi-unit loudspeakers try to approximate a point-source. Think of a pebble dropped into the water and the expanding wave pattern away from impact. Obviously it is difficult to integrate multiple point-sources into a truly coherent expanding wave. The best designs do quite well with careful driver engineering and crossover development.

Polarity: A speaker, for example, has a positive and a negative input terminal. Connecting a battery directly to the speaker will result in the diaphragm moving outward. If you reverse the battery leads, the diaphragm will move inward. Caution: Too high of a voltage battery will also burn out the speaker!

Ported Enclosure:   A type of speaker enclosure that uses a duct or port to improve efficiency at low frequencies.

Power (P): The time rate of doing work or the rate at which energy is used. One equation for Power:

P = Volts^2 / Impedance

Push-Pull Configuration: One driver is mounted normally, the second is mounted so that it faces into the enclosure, both sharing the same internal volume and wired out of phase with one another. Although electrically out of phase with one another, the drivers are acoustically in phase since they move in the same direction. This alignment theoretically reduces second order harmonic distortion.

Push-pull: Most common type of amplification that amplifies the negative and positive sides of the waveform separately. Allows for much higher power output than single-ended.

Pre-amplifier: Or Pre-amp is a device that takes a source signal, such as from a turntable, tape-deck or CD player, and passes this signal on to a power-amplifier(s). The pre-amp may have a number of controls such as source selector switches, balance, volume and possibly tone-controls.

Q or Quality Factor: Is a measure of damping. Modern home speaker systems have Q values ranging from < .5 to approx. 2.0.  Q values < .7  have no peak in the response. Q values around .5 are considered to be optimally damped, having a Bessel response. A Q of 1.0 is a Butterworth response. The lower the Q value, the better the transient response of the system, (less or no ringing), but the tradeoff is a larger required box size and the response begins to rolloff at a higher frequency. Another way to consider it is that the lower the Q, the more gradual the rolloff but the rolloff begins at a higher frequency.

Radio-frequency interference (RFI): Radio-frequency sound waves can be caused by many sources including; shortwave radio equipment, household electrical line, computers and many other electronic devices. RFI sometimes interferes with audio signals, causing noise and other distortions.

RCA Connector: "Phono" plugs, used primarily as low-level connections between Phonographs/CD players/Tuners/Recievers/Amplifiers

Receiver: An audio component that combines a pre-amplifier, amplifier(s) and tuner in one chassis. A Dolby Prologic Receiver also contains a Dolby Prologic decoder for surround sound.

Resistance (Re): In electrical or electronic circuits, a characteristic of a material that opposes the flow of electrons. Speakers have resistance that opposes current.

Resonant frequency: Any system has a resonance at some particular frequency. At that frequency, even a slight amount of energy can cause the system to vibrate. A stretched piano string, when plucked, will vibrate for a while at a certain fundamental frequency. Plucked again, it will again vibrate at that same frequency. This is its natural or resonant frequency. While this is the basis of musical instruments, it is undesirable in music-reproducing instruments like audio equipment.

Ribbon Speaker: A type of speaker that uses a pleated conductor suspended between magnets. Most true ribbons are tweeters only. Sometimes confused with magnetic-planar speakers.

RMS (root-mean-square): The square root of the mean of the sum of the squares. Commonly used as the effective value of measuring a sine wave's electrical power. A standard in amplifier measurements.

Roll-off (cut-off): The attenuation that occurs at the lower or upper frequency range of a driver, network, or system. The roll-off frequency is usually defined as the frequency where response is reduced by -3 dB.
Title: Re: Dictionary of Audiophile
Post by: Harlin on Mar 27, 2008, 18:44:26

Satellite: A satellite speaker is usually fairly small, and does not reproduce the lowest frequencies. Usually meant to be used with a woofer or subwoofer.

Sd: The effective piston area of a driver. The effective piston area of a driver.

Sealed enclosure: An air tight enclosure that completely isolates the back wave of the driver from the front. Very tight, defined sound (with Qtc = 0.707) with very good transient response and power handling.

Sensitivity: A measurement of how much power is required for a loudspeaker to achieve a certain output level. The general standard used is on-axis SPL (Sound Pressure Level) at 1 watt input, 1 meter distance.

Signal-to-noise (SN) Ratio: The range or distance between the noise floor (the noise level of the equipment itself) and the music signal.

Sine wave: The waveform of a pure alternating current or voltage. It deviates about a zero point to a positive value and a negative value. Audio signals are sine waves or combinations of sine waves. The waveform of a pure alternating current or voltage. It deviates about a zero point to a positive value and a negative value. Audio signals are sine waves or combinations of sine waves.

Single-ended: Type of amplification often, (but not always), using vacuum tubes. Typically low power output, low damping factor and relatively high distortion. Single-ended enthusiasts claim that the sound quality is more "real".

Sound Pressure Level (Spl): Given in decibels (DB) is an expression of loudness or volume. A 10db increase in SPL represents a doubling in volume. Live orchestral music reaches brief peaks in the 105db range and live rock easily goes over 120db.

Soundstage: A listening term the refers to the placement of a stereo image in a fashion that replicates the original performance. A realistic soundstage has proportional width, depth and height.

Sound Waves: Sound waves can be thought of like the waves in water. Frequency determines the length of the waves; amplitude or volume determines the height of the waves. At 20Hz, the wavelength is 56 feet long! These long waves give bass its penetrating ability, (why you can hear car boomers blocks away).

Speaker Level: Taken from the speaker terminals. This signal has already been amplified.

Spectral balance: Balance across the entire frequency spectrum of the audio range.

Spider: The flexible material that supports the former, voice coil, and inside portion of the cone within the speaker frame.

Standing wave: A buildup of sound level at a particular frequency that is dependent upon the dimensions of a resonant room, car interior, or enclosure. It occurs when the rate of energy loss equals the rate of energy input into the system. This is what you hear when you listen into a sea shell.

Stereo: From the Greek meaning solid. The purpose of stereo is not to give you separate right and left channels, but to provide the illusion of a three-dimensional, holographic image between the speakers.

Subwoofer: A speaker designed exclusively for low-frequency reproduction. A true subwoofer should be able to at least reach into the bottom octave (20-40Hz). There are many "subwoofers" on the market that would be more accurately termed "woofers".

Surround (suspension): The outer suspension of a speaker cone; holds the diaphragm in place but allows it to move when activated. Usually made of foam or rubber.

Surround Sound: Sound extracted from the stereo signal sent to smaller rear or side speakers used in a home theater.

Thiele/Small parameters: The numbers that specify the behavior of drivers, as defined and analyzed by two engineers, Neville Thiele and Richard Small.

THX: Refers to a series of specifications for surround sound systems. Professional THX is used in commercial movie theaters. Home THX specifications are not published and manufacturers must sign non-disclosure waivers before submitting their products for THX certification. Manufacturers that receive certification for their products must pay a royalty on units sold.

Timbre: The quality of a sound that distinguishes it from other sounds of the same pitch and volume.  The distinctive tone of an instrument or a singing voice.

Timbral: Refers to the overall frequency balance of a system. In a perfect world, all systems would have complete tonal neutrality. With current technology, this ideal is approached but not met. Listening to many equally "good" speakers will reveal that some sound warmer than others, some sound brighter etc. In a surround sound system it is important that all speakers have a close timbral match for the highest degree of sonic realism.

Total harmonic distortion (THD): Refers to a device adding harmonics that were not in the original signal. For example: a device that is fed a 20Hz sine wave that is also putting out 40Hz, 80Hz etc. Not usually a factor in most modern electronics, but still a significant design problem in loudspeakers.

Transducer: A device that converts one form of energy to another. Playback transducers are the phono cartridge, which changes mechanical vibrations into electrical energy, and the loudspeakers, which change it back, from electrical energy coming from the amp to mechanical movement of the diaphragm, causing audible pressure changes in the air.

Transmission Line: Also referred to as a T-line. A type of bass cabinet in which the back wave follows a relatively long, usually damped path before being ported to the outside. T-lines are usually rather large and costly cabinets to manufacture. Opinions vary widely over the "best" type of bass cabinet, but much has to do with how well a given design, such as a transmission line is implemented.

Transient response: The ability of a component to respond quickly and accurately to transients. Transient response affects reproduction of the attack and decay characteristics of a sound.

Transparency: Listening term. An analog that can be best "pictured" in photography. The more "transparent" the sound, the clearer the auditory picture.

Transients: Instantaneous changes in dynamics, producing steep wave fronts.

Tri-wiring: The use of three  pairs of speaker wire from the same amplifier to separate bass, midrange and treble inputs on the speakers.

Tuning Frequency: The helmholtz resonant frequency of a box. Also refers to the resonant frequency of other types of systems.

Tweeter: A speaker,  (driver), used to reproduce the higher range of frequencies. To form a full-range system, a tweeter needs to be combined with a woofer, (2-way system), or a woofer and midrange, (3-way system).

Unity gain: A circuit with unity gain will not increase or decrease the volume level.

Vas: The equivalent volume of compliance, which specifies a volume of air having the same compliance as the suspension system of a driver.

Vb: The total box volume, usually in cubic feet or liters. Used specifically in sealed and ported designs.

Vf: The front volume of a bandpass design. The front volume of a bandpass design.

Vr: The rear volume of a bandpass design.

Voice coil:  The wire wound around the speaker former. The former is mechanically connected to the speaker cone and causes the cone to vibrate in response to the audio current in the voice coil.

Volt (E): The unit of measurement used to measure how much "pressure" is used to force electricity through a circuit.


Warmth: A listening term. The opposite of cool or cold. In terms of frequency, generally considered the range from approx. 150Hz-400Hz. A system with the "proper" warmth will sound natural within this range.

Wattage: Is the unit of power used to rate the output of audio amplifiers. For a wattage number to have meaning the distortion level and impedance must also be specified.

Wavelength: The distance the sound wave travels to complete one cycle.  The distance between one peak or crest of a sine wave and the next corresponding peak or crest. The wavelength of any frequency may be found by dividing the speed of sound by the frequency. (Speed of sound at sea level is 331.4 meters/second or 1087.42 feet/second).

Woofer: A speaker, (driver), used for low-frequency reproduction.  Usually larger and heavier than a midrange or tweeter.
XLR: A type of connector used for balanced lines. Used for microphones, balanced audio components and the AES/EBU digital connection.

Xmax: The maximum linear cone excursion of a driver, measured in inches or millimeters.  Caution; this should be specified as linear excursion one way, but many manufacturers list the the total excursion both ways which falsely doubles the value!

Y-Adapter: Any type of connection that splits a signal into two parts. An example would be a connector with one male RCA jack on one end, and two female RCA jacks on the other end.

Zobel Filter: A series circuit consisting of a resistance and capacitance. This filter is placed in parallel with a speaker driver to flatten what would otherwise be a rising impedance with frequency.
Title: Re: Dictionary of Audiophile
Post by: Harlin on Mar 27, 2008, 18:49:54
Sebenernya masih banyak lagi nih dari

Tapi banyak yang sama dengan yang diatas.
Title: Re: Dictionary of Audiophile
Post by: radityajoko on Apr 05, 2008, 10:04:24
bro, gw masih bingung di ngebayanginnya....soalnya gw belum bisa rasain bedanya bloated sama boomy ituh....lagian didalam definisi ituh masih ada ungkapan lain yang kadang gw ga ngerti.....

apa memang dunia audio itu subjektif yah?
Title: Re: Dictionary of Audiophile
Post by: d4rk*bring on Apr 05, 2008, 10:57:14
Hmm...bloated tuh kira2 kayak klo ente nyanyi di kamar mandi, sedangkan klo boomy tuh, bassnya agak2 mendem en suka nutup2in detail :D. Yah, kesan masing2 bisa berbeda :D.

(Org ada org disuruh tes MS-PRo mah PR20, dia blg bagusan PR20? Nah loh? :D).
Title: Re: Dictionary of Audiophile
Post by: Harlin on May 04, 2008, 14:06:42
Ini gue ambil dari website, dan banyak informasi yang berguna yang gue rasa bisa menjadi pengetahuan yang berguna...

Vacuum Tube Technology Overview

The basic purpose of the audio amplifier is to increase the current, voltage or power of a signal and deliver the signal to the speakers. The three basic types of amplifiers are solid state, hybrid (utilizes tube and solid state) and vacuum tube. Each technology has its positives and negatives. Although the general operational characteristics of the three audio amplifier types are similar, there is a differential in the sound.

There are two basic designs of tube amplifiers. One design is the triode amplifier (also referred to as single ended or Class A) in which one vacuum tube (300B, 2A3) is used per channel to amplify the audio signal. Within the tube, a small signal is placed on the grid which causes a large fluctuation of voltage. Thus, the small amount of signal controls the larger power so that the signal is replicated at a larger level of energy. Another design is the push pull amplifier (Class AB). Rather than using one tube, the push pull amplifier uses more than one tube per channel. One tube will amplify the positive portion of the signal and the other tube will amplify the negative portion. The push pull design provides greater wattage than the single ended amplifier. This is a very simplified rendition of how a tube amplifier works.

Why a Tube Amplifier?

The comeback of the tube amplifier as told by Rick Rosen of Stereophile is not a matter of nostalgia; it is a matter of excellent sound reproduction. Even the average ear can recognize the holographic soundstage, smoothness, and the crystal clear resolution that a tube amplifier can deliver. At low volume levels, the sound is clear and linear; at moderate volume levels, the sound is full and satisfying; and at loud volume levels, the sound will not punish your ears.

Aren’t Vacuum Tubes obsolete Technology?

No. Many people believe tube technology is obsolete since they think solid state has replaced it. One example used to exemplify obsolescence is the comparison of the small size and high computing speed of the personal computer (solid state) that has replaced the 1950’s Enac computer which used 18,000 vacuum tubes, had the power of a modern calculator and fit in a room the size of 3 double garages. No doubt integrated circuits are a significant technical advancement that has made many of the communication and computing devices of modern times a reality. However, tubes were never designed to be utilized as integrated circuits (on/off switching), tubes were designed to amplify. A good example of how tubes create power is your microwave oven (happens to be powered by a vacuum tube). Press the start button and your microwave oven will develop 900 to 1400 watts of power on demand. If that moderate sized oven used integrated circuits for power, it would be the size of a refrigerator. Tubes are still a $2.4 billion industry in the U.S. and is utilized in high power applications such as transmitting equipment, radar, RF equipment, x-ray machines, medical equipment to name a few. In relation to audio equipment, vacuum tubes perform superbly as an amplification source. From a technical viewpoint in terms of cost, size, power, reliability and performance, the vacuum tube amplifier is as viable as the solid state amplifier.

I have never used vacuum tubes before and they make me nervous?

In a sense, you have been using tubes all your life, light bulbs. Although the light bulb and the vacuum tube are used in different applications, there are some similarities in how they operate. If you drop a light bulb on a cement floor, it will break; you have to change the light bulb every so often; and last but not least, if a light bulb has been on for an hour and you grab it, then you will burn your hand. So it is with a vacuum tube.

Will I have to replace the tubes all the time?

In JoLida vacuum tube amplifiers, the vacuum tubes are rated to last a minimum of 3,000 hours. This is why we will guaranty them for 6 months to a year. For the average listener, this is approximately five years. The cost of replacing all the tubes on the JD 502B is $120.

How long can a tube amplifier last?

If maintained properly, a tube amplifier can last 30 years or longer. If you look in the classifieds for amplifiers for sale over 30 years of age, most of them are tube.

JoLida amplifers are only rated at forty, fifty watts of power output, that doesn’t seem like much power.

It is a rule of thumb that one tube watt is equivalent to two or three solid state watts.
Title: Re: Dictionary of Audiophile
Post by: arvee on May 04, 2008, 15:57:06
JoLida amplifers are only rated at forty, fifty watts of power output, that doesn’t seem like much power.

It is a rule of thumb that one tube watt is equivalent to two or three solid state watts.
Ok nih yang lagi keracunan tube :D ceritanya promo juga nih heheheheh
Title: Re: Dictionary of Audiophile
Post by: pixelpaint on May 04, 2008, 16:11:20
Wah sep nih lengkap banget!!
Title: Re: Dictionary of Audiophile
Post by: iQEM on May 28, 2008, 08:41:32
nambahin dikit boleh ? sori klo udah ada, cuma nglengkapin detilnya aja koq... :D


The presence of strongly emphasized s, sh, ch, z, j sounds in speech called sibilants. These CONSONANTs are created by air moving through the vocal tract and being constricted by the position of the tongue and lips.

The SPECTRUM of sibilants is that of NARROW BAND NOISE in the high frequency range (5-10 kHz) and therefore their perception is the first to be affected by hearing loss with age (PRESBYCUSIS). Sibilants may be unvoiced (i.e. without pitch) or voiced (i.e. with an added vibration of the vocal cords).
Title: Re: Dictionary of Audiophile
Post by: psychaudio on May 28, 2008, 13:28:45
Ikut melengkapi ya bang (kata paling penting nih sesuai nama forum  :D):

Audiophiles are people who seek to listen to music at a level of quality as close to the original performance as possible. They use high-fidelity components to try and attain these goals. Most are music lovers who are passionate about high-quality music reproduction. DIY audio enthusiasts build their own equipment, especially loudspeakers.

Audiophile values may be applied at all stages of music reproduction: the initial audio recording, the production process, and the playback, which is usually in a home setting. High-end audio refers to expensive, high-quality, or esoteric products and practices used in the reproduction of music.

Title: Re: Dictionary of Audiophile
Post by: equinox on May 28, 2008, 16:08:34
Good one bro! hahahahhaha
Title: Re: kutipan A-Z seputar audio
Post by: endro on Jun 01, 2008, 08:46:35
Amp or Not

Apakah headphone amp itu perlu?
(by Xin, source:

Jawabannya adalah IYA. Beberapa orang akan mendengar perbedaannya secara langsung, beberapa yang lain butuh waktu untuk penyesuaian dari telinga dan otaknya untuk mendengar perbedaannya. Sekali saja perbedaannya dapat terdengar, akan seterusnya dapat membedakan.

Dalam sudut pandang ampli, headphone dapat dikategorikan menjadi efisien atau in-efisien, impedansi tinggi atau rendah. In-efisien headphone, baik itu low atau high impedance, tidak dapat di-drive untuk mencapai volume yang cukup dengan hanya digital audio portable (DAP) yang lemah, sehingga headphone seperti ini membutuhkan amp. AKG 240 dan 1000 dan ER4S adalah termasuk kategori headphone in-efisien yang popular.

Meskipun headphone yang efisien dapat di "drive" oleh portable player sampai ke volume yang cukup, bukan berarti suaranya sudah sangat bagus. 10mW output capacity dari portable player yang umum, sebenarnya masih terlalu lemah. Headphone efisien yang paling populer adalah Senn HD580, Koss KSC-50, Grado 60 & ER4P.

Ada beberapa komentar: low impedance headphone spt Grado SR60 (32 ohm), ER4P (27 ohm) tidak memerlukan amp sedangkan high impedance headphone spt HD-580 (300 ohm) memerlukan amp. SALAH! semuanya sebenarnya membutuhkan amp, dan pada kenyataannya Grado SR60 & ER4P lebih sulit di-"drive" oleh sebuah amp daripada HD580.

Silahkan lihat Tangent's benchmark test untuk PPA amps berikut ini:

Membandingkan hasil benchmark dari 1 & 4 buffers, kita dapat mudah melihat: untuk men-drive Grado SR60 dengan nilai yang rendah untuk THD, IMD dan crosstalk, sebuah PPA amp membutuhkan 4 stacked buffers, sementara hanya perlu 1 buffer untuk HD-580. Benchmark saya juga menunjukkan hasil yang sama, low impedance headphone lebih sulit di drive. Surprise? Kenapa?

Karena, low impedance headphone seperti Grado SR60 membutuhkan lebih banyak arus listrik. Ketika diberikan arus yang besar, sebuah amp cenderung menimbulkan lebih banyak distorsi nonlinear, dimana digambarkan dalam data2 : THD, IMD, dan crosstalk antara channel. Ketika load impedance rendah, output impedance dari sebuah amp akan rendah juga. Hal ini sangatlah jelas. Output ground resistance harus dibuat sangat rendah, terlebih di high frequency, jika tidak maka channel crosstalk akan lari semakin tinggi. Stacked buffers dapat memberikan multiplifikasi lebih tinggi dari arus yang sekarang dan menurunkan output resistance, yang selanjutnya memperbaiki benchmark dan suara.

Terlihat khan, bahkan super amp seperti PPA membutuhkan kerja keras untuk men-drive sepasang Grado SR60 dan ER4P yang dipertimbangkan (secara salah) sebagai "easy-to-drive" phones. Seberapa baikkah kinerja 10mW portable player? Ketika anda menghubungkan ER4P ke IPOD anda, contohnya, anda tidak akan mendengar bass, karena untuk sinyal frequency rendah, kebutuhan akan arus listrik akan semakin jauh tinggi. Hal inilah penyebabnya, (meskipun dalam data2 di kertas biasanya iPod dan modern portable player pada umumnya memiliki response flat di 20-20k Hz yang notabene baik2 saja). Player tersebut tidak mampu menimbulkan arus yang cukup kepada headphones, terutama untuk bass.

Apakah ini berarti high impedance phones seperti Senn HD-580 tidak membutuhkan amp? TIDAK!. Sebagai contoh, ketika anda menghubungkan HD-580 ke iPod, sepertinya suaranya sudah cukup lumayan. Akan tetapi setidak2-nya ada 2 hal yang hilang. Ketika sebuah amp men-drive low impedance hedphone, kapasitas arus dan output impedance (termasuk ground line output) adalah pemegang peran utama seperti diceritakan diatas. Ketika men-drive high impedance hedphone, arus dan impedance secara relatif akan kurang dominan, akan tetapi pergerakan (swinging) voltase tinggi yang berperan. Pertama2, sebuah amp harus dapat mengayun diantara very high voltage rails untuk dapat memproduksikan volume yang cukup sebelum clipping terjadi. Jika amp tersebut tidak cukup memiliki (ruang) voltase, maka anda akan mendengar clippings ketika musik dimainkan di kondisi terkeras. Ke-2, Seberapa cepatkah ayunan dari amp (slew rate)? Jika terlalu lambat, maka gesekan cepat biola, contohnya, tidak akan dapat "meluluhkan" hati anda. Banyak orang mengeluh bahwa HD-580 tidak memiliki hasil yang sama dg SR60. Sebenarnya adalah karena kesalahan amp yang digunakan, slew rate-nya terlalu rendah. HD580 (300 ohm) membutuhkan voltage swing yang lebih lebar dibandingkan Grado SR60 (32 ohm), maka dari itu, slew rate yang tinggi adalah faktor yang utama disini.

Kebanyakan dari portable player, dijalankan pada voltase yang sangat rendah (1.5V s/d 4.5V) dan tidak dapat memberikan 2 hal: magnitude dan kecepatan dari voltage swing. Ketika anda menghubungkan HD-580 ke iPod, maka suaranya sudah lumayan baik (low noise dan distorsi) tapi anda tidak akan mendapatkan power dan hal2 yang meluluhkan hati anda (racun!  >:D >:D)

Masih ada hal2 detail teknis lainnya, tapi kebanyakan orang tidaklah perlu mengetahuinya kecuali akan men-design atau membuat amp. Akan tetapi hal2 diatas semoga sudah cukup memberikan gambaran kenapa dibutuhkan headphone amp yang bagus untuk headphone.
Title: Re: Dictionary of Audiophile
Post by: endro on Jun 01, 2008, 08:48:18

satu lagi dari :

Indikator dari besarnya voltase dan arus listrik yang dibutuhkan untuk mengoperasikan sepasang headphone. High impedance headphones (>120 ohm) membutuhkan voltase substansial, sedangkan low impedance headphones (<120 ohm) membutuhkan arus listrik substansial. Headphone amplifier yang harganya masuk akal di pasaran, umumnya adalah arus tinggi (hi-current) atau voltase tinggi (hi-voltage).
PA2V2, seperti yang disebutkan dibeberapa website, adalah Lo-Voltage | Hi-Current sehingga cocok untuk headphone 120 ohm kebawah.
CMOY, dimana digerakkan oleh sepasang 9V baterai, adalah Hi-Voltage | Lo-Current sehingga cocok untuk headphones high impedance.
Title: Re: Dictionary of Audiophile
Post by: aqeen on Nov 30, 2009, 06:37:07
wah,lengkap bener kamusnya,tp masih bahasa inggris jadinya susah ngertinya,maklum gak jago2 bgt...
Title: Re: Dictionary of Audiophile
Post by: luther123 on Dec 27, 2009, 13:48:14
nah kalo IMO dan IMHO singkatannya apa??
koq gw ga nemu2 ya..
Title: Re: Dictionary of Audiophile
Post by: mahasiswa malas on Dec 27, 2009, 15:41:19
IMO = in my opinion
IMHO = in my humble opinion
Title: Re: Dictionary of Audiophile
Post by: theha on Dec 27, 2009, 15:49:36
nah kalo IMO dan IMHO singkatannya apa??
koq gw ga nemu2 ya..

yah ga nemu lah itu kan bukan istilah audiophile
ini thread tentang kamus audiophile

ada2 aja
Title: Re: Dictionary of Audiophile
Post by: luther123 on Dec 31, 2009, 11:15:48
owh...hehehe..thanks ya...
ku kira itu istilah audiophile..
Title: Re: Dictionary of Audiophile
Post by: xkvegans on Jan 04, 2010, 13:09:57
coba tanya ulang...(males nyari nya)

gw mw tanya yg dimaksud burn in itu apa?, apakah tiap2 merk dan type earphone cara burn in nya beda2 ataukah sama?, IEM itu apa (klo kepanjangannya sih tau)...

sory newbie bgt nih...
gw tau nya dengerin musik doang...hehe...
Title: Re: Dictionary of Audiophile
Post by: shiroa on Jan 04, 2010, 13:35:16
yang namanya dynamic driver pasti perlu burn in/break in.. sedangkan di balanced armature biasanya pengaruhnya minim/hanya di awal2..

selain itu komponen elektronik pasti perlu burn in, misalnya DAP, AMP, dll :)
Title: Re: Dictionary of Audiophile
Post by: aris_ismar on Jan 04, 2010, 13:40:52
IEM itu gampangannya sperti punya Sony Ericsson yg mesti dimasukin sampe ambles kedalam kuping
Title: Re: Dictionary of Audiophile
Post by: xkvegans on Jan 04, 2010, 19:12:00
yang namanya dynamic driver pasti perlu burn in/break in.. sedangkan di balanced armature biasanya pengaruhnya minim/hanya di awal2..

selain itu komponen elektronik pasti perlu burn in, misalnya DAP, AMP, dll :)

kalo dalam istilah awamnya kaya "pemanasan" kali ya, pemanasan dulu baru action...gitu bukan ya...?...hehe...

berarti dalam visualisasinya in ear monitor sama in ear / earplug sama aja ya?, fungsinya juga ya?
Title: Re: Dictionary of Audiophile
Post by: a_tumiwa on Jan 04, 2010, 19:21:18
Title: Re: Dictionary of Audiophile
Post by: fellas on Jan 25, 2010, 23:50:49
bahasa inggris gans..haha
Title: Re: Dictionary of Audiophile
Post by: andrikillmister on Jan 31, 2010, 11:48:47 newbi masih awam,mohon petuah nya!klo misal nya kita ngburn in PR10 yang bagus nya pake format apa?bitrate nya brapa?trus volume nya full ataw atau standar?thnks
Title: Re: Dictionary of Audiophile
Post by: iQEM on Feb 01, 2010, 21:27:19
udah ada thread serupa soal burn-in di:

silahkan dibaca, lain kali tolong search dulu sebelom nanya/post...thx
Title: Re: Dictionary of Audiophile
Post by: bhulukethek on Mar 09, 2010, 22:02:54
Kalo Hiss itu apa?
ane pernah baca gitu...di IEM katanya..
maksdunya apa?
Title: Re: Dictionary of Audiophile
Post by: Antasena on Jul 08, 2010, 12:12:13
mster saya pengen belajar lebih ttng sibliance... sebabnya apa ya? lalu memperbaikinya gimana? thx
Title: Re: Dictionary of Audiophile
Post by: TheMiddleSKy on Jul 08, 2010, 12:24:09
klo misal "suara yg terdengar lebih analog" itu maksud nya apa ya? mmg suara nya digital seperti apa? :P
Title: Re: Dictionary of Audiophile
Post by: wynemo on Jul 22, 2010, 16:46:52
Makasih pak,infonya pas bgt buat nubi kyk gw bookmark dolo ah.hehehe
Title: Re: Dictionary of Audiophile
Post by: si pitak on Oct 17, 2010, 10:43:41
boss yang punya lagu audiophile tapi genre rock a,blues,tau poprock bagi2 ke ane dong linknya...PM aja ya..thanks b4
Title: Re: Dictionary of Audiophile
Post by: mike_hell on Oct 26, 2010, 07:21:37
boss yang punya lagu audiophile tapi genre rock a,blues,tau poprock bagi2 ke ane dong linknya...PM aja ya..thanks b4
gilaaaa...ini dah thread ke 3 atau 4 ya...yang isinya lu cuma minta gratisan..::)
Title: Re: Dictionary of Audiophile
Post by: langsung on Apr 29, 2011, 10:36:30
wew berguna banget nich buat newbie kayak ane
Title: Re: Dictionary of Audiophile
Post by: agung0909 on Apr 29, 2011, 22:41:34
wow, bookmarkdeh.

sekalian tanya niy, kalo beda staging sama airy apa ya? 
Title: Re: Dictionary of Audiophile
Post by: Wakiniki on Apr 29, 2011, 22:55:42
wow, bookmarkdeh.

sekalian tanya niy, kalo beda staging sama airy apa ya? 
staging yah stagenya. biasanya merujuk ke "luas", "lebar", dan "jauh"nya suara yang ada. ada cans yang suaranya ngumpul di kepala, ada yang keluar kepala, dst.

airy tuh suara yang "lepas". lebih jelasnya coba cans open. itu suara airy.
Title: Re: Dictionary of Audiophile
Post by: kuping panci on May 03, 2011, 23:33:14
wah...sip nih bwat nambah wawasan bagi gw yg masih noob dimari......
Title: Re: Dictionary of Audiophile
Post by: TheMiddleSKy on May 19, 2011, 15:58:09
Lagi pengen share link bagus saja ttg frequency response :)
Title: Re: Dictionary of Audiophile
Post by: tommynatan on Feb 18, 2012, 14:30:50
istilah black background itu artinya apa ya?
contoh cans yang punya black background apa?

cari2 dmn mana ga nemu
Title: Re: Dictionary of Audiophile
Post by: s3ndal_j3pitz on Feb 28, 2012, 08:08:16
Mungkin Deskripsi nya Bro Tingm di Headfonia di bagian review Kingrex bisa menjelaskan tentang Black Background

kalo iem mungkin er4 (punyanya cuman itu hehe, gak pernah nyobain yg lain)....hehe

tapi akhir2 ini sy juga punya pertanyaan, apa ada hubungannya dead silent seperti waktu  nyolok er4 ke O2 (amp), terus masalah kualitas rekaman, noise, dan source yg kita pakai...karna sy baru bisa merasakan Black Background kalo lg muter file lagu yg bagus, dan make er4 tentunya.... ???

mohon penjelasan teman2 yg lain... :)
Title: Re: Dictionary of Audiophile
Post by: gorboman on Mar 01, 2012, 21:49:24
Saya malah baru ngerti apa yang sebenarnya dimaksud dengan "airy" dan "coherent". Masih banyak istilah audiophile yang perlu saya pahami supaya bisa nyambung kalo ngobrol. :azn:
Title: Re: Dictionary of Audiophile
Post by: blackopsfox on May 02, 2012, 01:48:45
Masih banyak!!!!!!! Dan perlu tingkatkan sensitifitas audiophile
Title: Re: Dictionary of Audiophile
Post by: tommynatan on May 02, 2012, 10:33:51
@sendaljepit, wah sori baru baca jawaban anda, makasih ya penjelasannya :D

@om gorbo, klo mau tau apa itu "airy" cobain aja sony ex1000, bandingin sm iem lain :D
Kalo koheren saya belum pernah nemu yg ga koheren, jujur aja, tp penjelasannya, kalo misal suaranya itu gak nyambung, bass main sendiri, trble main sendiri, jadi kayak kurang "koordinasi" :D
Title: Re: Dictionary of Audiophile
Post by: ronal on May 02, 2012, 22:05:01
kalo sound sig itu apa ya maklum nubie baru masuk ke audio
Title: Re: Dictionary of Audiophile
Post by: gorboman on May 02, 2012, 22:10:14
kalo sound sig itu apa ya maklum nubie baru masuk ke audio

Karakter khas suara yg dihasilkan suatu gear.
Title: Re: Dictionary of Audiophile
Post by: TheMiddleSKy on Sep 05, 2012, 00:14:07
Just want to share: (I think it's a very informative statement)
If the midrange sounds receded the audible cues from the treble range and the rather omnidirectional sounding bass frequencies will dominate and the result will be a larger soundstage.  What is really happening is not a larger soundstage but a larger sounding headstage.  Headstage being the immediate 3 dimension sound taken up by the majority of the performers.  Soundstage being the maximum distance notes trail off to. 

IEMs can often have an audibly large soundstage but the headstage is often tiny and mapped to the forehead.  Closed headphones often offer a larger headstage but their soundstage is cut off because of the interaction with the enclosures. 

This leaves open headphones and ultimately the K1000 ear speaker: largest of soundstages and usually larger headstages as well depending on the distance of the driver to the ear.  When the outer ear is properly engaged, the headstage is usually enlarged immediately.  It is a reason (in Grado cases) that going from flats to bowls to the largest pads immediately changes the shape and size of the headstage, yet the soundstage may not be affected to the same extent. 

One documented attribute of the HD800s is that they throw a large headstage, so large in fact that it dominates when a track or entire album should not sound so expansive.  When the sound is called for, HD800s are difficult to best in this regard.  A trick the R10s play is angling the drivers in order to balance their rather closed construction.  Jan Meier demonstrates various ear positions for headphones which dramatically change the sound: particularly the size of the headstage and often the soundstage too.

Credit to Zanth (Head-fi's "10 years" Moderator)
Title: Re: Dictionary of Audiophile
Post by: macabre_091 on Apr 21, 2014, 22:08:00
Newbie mau nanya ke para master nih,pengertian "layering" di dlm dunia audio itu apa ya?sama soal "width" dan "depth" itu kalo misalnya suatu cans punya sound sig yg presentasinya forward i.e grado kan mostly bilang itu cuma punya width tapi kurang depth,so are forward means less depth?
Title: Re: Dictionary of Audiophile
Post by: Retrias on Apr 21, 2014, 22:10:11
forward bukan berarti gak ada depth ,ada beberapa cans yang lumayan forward dan depthnya lumayan dalem
Title: Re: Dictionary of Audiophile
Post by: macabre_091 on Apr 21, 2014, 22:20:17
forward bukan berarti gak ada depth ,ada beberapa cans yang lumayan forward dan depthnya lumayan dalem
depth itu jarak depan belakang antar instrumen kan ya?kalo layering itu gimana ya?
Title: Re: Dictionary of Audiophile
Post by: RedSosis on Apr 21, 2014, 22:40:50
forwards means less depth??  not always
bro coba UE Super.Fi 5 Pro, itu karakternya forward tapi depth juga dapet

This term describes the listener's perception of localization within the soundstage. Layering is more readily detected in recordings of musicians performing simultaneously in a common space -- often referred to as the venue or site -- as compared, for example, with studio-type recordings in which tracks are "laid down," i.e., where performers play or sing in isolation one from the other or, indeed, at different times. When this style of recording is less than well done, a revealing audio system permits you to remark the vocalist's occupation of a space seemingly unrelated to where the backup players perform. To be fair, a well produced studio recording is certainly capable of creating an impression of distance and dimension by time-tested, albeit artificial, means.
Source: (
Title: Re: Dictionary of Audiophile
Post by: macabre_091 on Apr 21, 2014, 22:51:59
Noted bro :D ,rada susah kyknya nyari superfi 5 pro ya skr?btw thank's in advance ;)