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Upper Partials Make the Music

Published On: December 7, 2020Tags:

We now know that good articulation improves the attack transients in musical playback to provide the dynamics of a live performance. But what about the tonal characteristics, the timbre, the voice? Real instruments have fundamental notes plus overtones. The overtones provide the unique timbre of the instrument and complete the sonic musical experience. Synthesized instruments frequently lack the full harmonic overtone structure, as a result, the sound will be lifeless.

So now, what do you think happens when your room fails to “settle down” between sonic events, in other words: exhibits poor articulation?

Observe how the reverberant noise floor level exceeds many of the harmonic overtones.

Excessive reverberance in your listening environment masks many of these upper partials, rendering the music lifeless, much like a poorly executed synthesized instrument. Golden ears and tin ears alike can discern this gross difference. When the objective is to recreate the experience of a live musical performance, few things could be worse.

Where does the “running reverberant noise floor” come from? Uncontrolled buildup of sound in the front of your listening space, or “head end”, is the number one culprit. Wall, corner, and ceiling reflections in the bass range create a din that clouds all subsequent sounds generated by your speakers.

Reducing the running reverberant noise floor un-masks the upper partials, restoring musicality to your system, providing a life-like listening experience. TubeTraps are the number one tool for controlling the head end of your room through their fast-acting attenuation of low frequency sound waves.

Lower the Floor!

You’ve taken great care to minimize your electronic noise floor with a top-quality front end, impeccable filter networks, and ultra-pure power sources. Why tarnish this perfection with a room noise floor that negates all your efforts?

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