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รายละเอียดของแต่ละแทร็ก (๘๖ แทร็ก)

The Sheffield Lab Test Series

My Disk
The Sheffield/Autosound 2000 Test Disc

Test disk for tuning and evaluating the sounding audiosistem.

Description of the tracks
(Quentin Libby, Sheffield Lab)
Track 1. "Stranger in My Bed"
The Power of Seven "Up Front " (10033-2-F)
Here, you should find many levels of percussion, mixed with the band. Please note appearing occasionally kolokolchiki behind lid-vokalistki. Listen bek-vokaly at 1:12 when they sing "I got trouble ..." : You discerned all six votes? Listen to the track with caution : This record has been made in real time, so your system can be seriously checked for the volume.
Track 2. "Dish Rag"
Telma Houston & Pressure Cooker "I&squot;ve Got Music In Me" (10002-2-M)
This longpley 75th year, sold a circulation of more than a quarter million copies, has been gaining popularity among audiofilov. Throughout the first 30 seconds of opening track, look how well you can distinguish between the two keyboard instrument? How then will be filled with the sounds and enhanced music? You hear a tambourine (far left) from the 29th to 42-yu seconds? If your system is well-established a sound stage, at 1:13 brass will prevail in the left channel with a low, "flesh" solo trombona (1:29).
Track 3. "Dance Knights" S. Prokofiev "Romeo and Juliet"
The Leinsdorf Sessions, vol.1 (10043-2G)
Los-anzhelessky Philharmonic Orchestra, conductor Erich Leynsdorf
This record is implemented by legendary MGM Sound Stage One. On hearing the orchestra must be placed in polukruge : conductor-far left corner of the scene, violin and cello-front with a wooden music instruments. Then, at a higher elevation and in the back rows, trombony and percussion (including heavy litavry). In the first 20 seconds, the sound of the "rock" from the front lines between the violins and violonchelyami. And since 1:27, in the upper left corner scenes look at the accuracy of intense drum fighting focused skrezheschuschimi range.
Track 4. "Dirty Blue"
Adam Makowicz with Phil Woods "The name is Markiwicz " (10021-2-V)
The presence vibrofona must be seen even through an intricate game on piano. Listen transitions between notes at 1:07 track where the legendary saxophonist Phil Woods busts keys on his instrument. At the end of the track, he recoils ago and deployed by sending his first saxophone at a depth of the scene and then at the centre, "moving" from the orchestra compositions.
Track 5. "Wishing Well"
Michael Ruff "Speaking in Melodies" (10035-2-F)
This track comments on the head of company Sheffield Lab and her main zvukoinzhener of arcs Sacks: "our studio preamplifiers GML and koulovskiye microphones here operated on" excellently ". Note, as purely sounds fortepiano and they are natural and protyazhenny cymbals. Vokaly came out warm and the same time - transparent. Impact were prescribed by amazing means - without the artifacts. I greatly be proud for the sound, which we reached in this project."
Track 6. "Dock of the Bay"
Lincoln Mayorga & Distinguished Colleagues, Vol. III
In 1973, during rehearsals for the record, party plunger Jim Keltnera so long that not vmeschalas sided disks. As a result, the composition removed from the album and, subsequently, the track was bonusnym in CD-versii album. At 57 TAI are playing two guitars with the same degree of intensity, the two channels. You will feel stereorazdelenie and realistic tools. At 1:33 enters saxophone in the right channel; If you check the track in a car, the seat musician will be right over to the glove box. At the end of compositions by someone zvukomontazherov zagrubil extinction melodies. In 1973, they mixed the feyderom, the size of a car steering wheel!
Technical tracks
Track 7. Sinusoidal wave 1 kHz and the level of 20 dB. This is used as a reference level, with the concurrence TsAPa or ADCs. The level of -20 dB is the nominal level, allowing 20 dB. This level is commonly used in digital systems to choose zero. While it is still used other benchmarks, such as -14 dB, the same value of -20 dB is the most common.
Track 8. Sinusoidal wave 1 kHz and the level of 0 dB. Here the message at the highest level that can be stored on a CD-ROM. Used to verify the output of other devices connected to CD-proigryvatelyu and to harmonize all audio components.
Trackи 9-18. The following tracks are designed to evaluate the acoustic response headphones and speakers. The signals are modulated sinusoidal wave whose frequency changed by the delay, in order to eliminate the influence of standing waves. Each track begins with a reference tone frequency of 1 kHz and a duration of one second. Modifying lasts three seconds. In the ideal system, all the frequency variations should coincide with an initial volume of 1 kHz. This sequence leads to the synthesis of the sound system in less than 40 seconds. Track 9: 20 Hz; Track 10: 62 Hz; Track 11: 125 Hz; Track 12: 250 Hz; Track 13: 500 Hz; Track 14: 2,5 kHz; Track 15: 5 kHz; Track 16: 10 kHz; Track 17: 15 kHz; Track 18: 19 kHz.
Track 19. This track is a voice recording rights, leading by between 1 and 25. And while you may not know this man personally, but your audio should lead you to believe that believes in the same room with you. Even though the frequency range of human voices is not as broad as some tools, you will see what a vocal realism is not as easy. Of course, the type of microphone can influence demozapis. To minimize staining sounds, we used the microphone & K, placed close to the broadcaster in a very large room. Omni-pattern helped minimize the "proximity effect". This track is most suitable setting in large rooms, the presentations, etc. While playing the track around the premises it narration must clearly hear and be legible.
Track 20. Track of the identification of the right channel.
Track 21. Track of the identification of left channel.
Track 22. This track is designed for the rapid verification of polarity between the left and right channels. When people use the phrase "I am in phase (Phase I), the voice must be legible on the hearing and is at the centre stage. When the voice said : "I am out of phase (Phase I), the play becomes vague, off-centre, and lost low frequencies. If your system is doing everything in reverse, then one of the channels there is an inverse polarity. Although it usually occurs when you connect the speakers, not to rule out other causes of incorrect polarity, for example, they may be balansnye cords.
Track 23. The track contains quite a long time to check pulses polarities. Pulses consolidated in a sequence to delete incorrect reading. Each team of three positive impulses to the fourth-negative. The sequence is repeated for one minute.
Track 24. Sine wave with a frequency of 1 kHz, but at this time with the cut lower part. This track is useful for the technical specialist, for whom it is necessary to trace the phases of track on each of the components or throughout entire system. The cut sine wave is mapped onto oscillograph. Also track can also be used for the rapid check-out of the polarity of recording mechanisms.
Track 25. This track contains the record of the conversation of three people, which describe their position on the sonic scene. If your system cannot adequately reproduce the location, determined by voices, which means, it cannot correctly recreate stereo-means.
Track 26. This track contains the same information as track 25 with exception of the fact that now all three people speak simultaneously. And this conversation of three people your system must not intermix with each other: you had to not only accurately determine the position of each person, but also understand the speech of each of them this actually difficult testing for audiosistemy, but it very significant. If you are not assured in that, how well your a system works with this track, try this experiment on itself. Try to independently distinguish three familiar, who speak in different places and standing along the front wall of your accomodation for the hearing.
Tracks 27-32. These tracks contain the specially processed collection of musical fragments for evaluating of accuracy and focusing of lateral sonic scene.
Track 27. (this stereo) track is recorded in the normal 2- channel stereo regime.
Track 28. Music is switched into the regime mono (L + R). Sonic of scene must be rolled up at this time. Left and right loudspeakers will disappear, and must seem that entire music proceeds from the center of audiosistemy. There must not be any difference in the amplitude or the phase in the left and right channels, when system is located in the regime mono. The system, which works properly, will create the illusion of only loudspeaker in the middle of sonic scene, even if there there is no central loudspeaker whatever. If there is no central loudspeaker, then this illusion is known as the imaginary center. Our ability to receive this imaginary center is basis for the principle of stereo recording. The absence of the clearly focused means or the presence of the stray means - result of frequency distortions, and indicates the incapacity of audiosistemy to reproduce the proper stereo-picture.
Track 29. Mono signal will be given only to the left channel. At this time sonic picture must not change spectral balance, focusing or any other sonic qualities. Sonic picture only must completely be displaced into the left channel.
Track 30. Audible picture shifted back to the centre for comparison. Nothing should change, but sound source.
Track 31. Mono signal completely displaces into the right channel. Furthermore, must change only the position of sound.
Track 32. The signal switches back to the stereo, and the sound stage should recover without changes in the level and spectral balance. This is a very difficult test for all systems. In addition to be an ideal acoustical environment. However, when asked to build a good stereo-picture in a specific room, the track will be very useful.
Track 33. The track contains 45-sekundny music piece on a normal level. It will be used as a reference for the following tracks : from 34 to 40. At each of these tracks keyboard reduced by the amount of 10 dB. This test will show the ability of your system accurately reproduce signals low, which is often a difficult task for many TsAP-ov and filtering circuits. The longer your system will be able to work without noise or distortion, the better. On a good track system to the level of 40 -70 dB must be clearly heard.
Track 34. Recorded with the level of -10 dB.
Track 35. Recorded with the level of -20 dB.
Track 36. Recorded with the level of -30 dB.
Track 37. Recorded with the level of -40 dB.
Track 38. Recorded with the level of -50 dB.
Track 39. Recorded with the level of -60 dB.
Track 40. Recorded with the level of -70 dB.
Track 41. This track is a digital signal zero. Ideally, the track should play as a complete silence and is used to measure the background noise components or systems.
Track 42. This track contains the high-frequency signal of low level with alternating values of 0000 and 1111. On this path nothing must be audible. This signal is useful for evaluating the converter Cd of record player and its interaction with the analog circuits.
Attention!
Lower level of volume before play the following tracks!
Track 43. Korrelirovany pink noise at a frequency of 20 Hz to 20 kHz.
Track 44. Nekorrelirovany pink noise at a frequency of 20 Hz to 20 kHz. When setting up a multi-system always useful to compare the results with korrelirovanym (mono) and nekorrelirovanym (stereo) noise. The trek useful if the place to listen is not the same distance from the loudspeakers.
Track 45. This track demonstrates changes in the level with a step of 1 decibel. The level of pink noise rises on 1 dB every three seconds. You will focus attention, that increase in noise for one step is very small, and nevertheless it is possible easily to hear that the overall level increases.
Track 46. Like track 45, except that in this track are four steps in increments of 3 dB. Remember that each step requires twice as much energy than before - despite the fact that changes at the hearing are still low.
Tracks 47-56. These paths contain pink noise, which is filtered into sequential thirds of octaves, beginning with 25 Hz. each track it contains three thirds, which constitute one octave. Paths are the following:


Track № Frequencies, Hz
47 25 31,5 40
48 50 63 80
49 100 125 160
50 200 250 315
51 400 500 630
52 800 1000 1200
53 1600 2000 2500
54 3150 4000 5000
55 6300 8000 10000
56 12500 16000 20000

These filtered strips should be used to measure the tonal balance system, if you do not have a spectral analyzer. To assess the sensitivity of each frequency band can be measured with a simple audio signal decibel meter. These bands are useful for the final evaluations listening. When reproducing data frequencies, especially the highest, the system must play each of the strips in the center of the sound stage.
Track 57. The track provides a smooth change in the frequency of 20 Hz to 20 kHz for subjective assessment fluidity acoustic sensitivity in the listening. This procedure applies to exclude the effects of standing waves. The device will indicate the peaks and failures encountered in the reproduction of the track.
Track 58. This track is a signal from 100 Hz to 20 Hz for subjective assessment sabvuferov. The good part of the sound should be heard clearly up to the lowest frequency (20 Hz), which sounded at the end of the track.
Track 59. The track contains divided on the frequencies of 10 Hz to 99 Hz. Each of the frequency lasted 5 seconds. If your CD player displays indexes, each index will be in line with its ten kilohertz.


Index Frequencies
1 10-19
2 20-29
3 30-39
4 40-49
5 50-59
6 60-69
7 70-79
8 80-89
9 90-99

The sinusoidal waves with low distortion required for the detection of low-frequency resonant frequency speakers in the room in the calculation of standing waves, etc.
Tracks 60-62. These tracks contain sweep-signal 20-20 kHz with a very smooth and the characteristic low-distortion test the frequency response of electronic components. It is not intended for acoustic assessments, reflection or standing waves can cause interference. The acoustic measurements are better suited noisy tracks. Трек 60 gave sweep-signal from 20 to 200 Hz, трек 61 - from 200 to 200 to 2 kHz and трек 62 - 2 to 20 kHz.
Track 63. The trek includes music from A (440 Hz). It can be used as a reference to customize tools to verify the accuracy or speed of your player. If you are confident in your player, you can use it to your musical instruments or check your tuning fork. You can also compare two players.
Track 64. This track contains 100- Hertz tone impact with operating cycle 25 %. the power, consumed between the impacts, composes 1% of the power of tone message. This trot adapts for checking the dynamic characteristics of amplifiers, loudspeakers, and especially, for the sources of power of amplifiers. It will also measure a voltage drop in the 12- voltage automobile systems with the testing on the high power by unsuperfluous.
Track 65. This track accurately the same as track 64, with exception of frequency, which now is 1 kHz.
Track 66. This track exactly the same as track 64, but the frequency is 10 kHz. Be careful, because in testing can be damaged high dynamics.
Track 67. This track is square wave with a frequency of 100 Hz for evaluating the electrical circuits of components with the aid of the testing facilities. In order to qualitatively reproduce the undistorted waveform, is required frequency band from 1/10 to the tenfold fundamental frequency. Signal also can be used for evaluating the quality of the working background of equipment up to the frequencies on the threshold of audibility, i.e., below 20 Hz. square waves are also useful for checking the evaluation of the dynamic characteristics of filters and loudspeakers, where the distortions will appear in the form of flicks and fragment.
Track 68. Same as track 67, with the exception of the frequency of 1 kHz.
Track 69. This track record includes the original full momentum and is intended to be a reference for the next track. In addition to comparing the records to the following accomplished with dynamic compression, this track can be used to verify the accuracy of instrument testing peaks. Check the highest testimony to reproduce this track. Then, without changing the volume, and compare it with the testimony measured at the next track. The difference between them is the value of that equipment is not able to respond quickly to the musical passages short duration.
Track 70. The track recorded with exactly the same peak levels as the previous track, but you were wearing dynamically. The dynamic compression is quite common in modern records and started to make record singing loudest at the expense of dynamic range. If it sounds better than the previous track, meaning your system lacks the power and momentum to adequately reproduce audiofilskie record.
Track 71. This track tests your system for radiated distortion. Sinusoidal wave of the so-called Pretsizionnoy Audiosistemy One (Audio Precision System One), and processed a special device which enables to regulate the required amount of distortion. The start signal was distortion 0.0004%. He has been processed and recorded on a track 71, as a score for the subsequent tracks. The track has the tone distortion 0,03%. In each subsequent track distortion is increased by about 10 dB. If you have a distortion analyzer, you can test the calibration, since the value of distortions in the following tracks very accurately. Naturally, if you have a "noisey" CD player or bad CD, the coefficient of nonlinear distortion THD + N and influence, reducing the testimony of dough. If you do not have the distortion analyzer, you can use these tracks, as a test of "masking". The principle of "obscuring" the next. Beginning with low levels of distortion and increasing until it becomes audible, you get testimony threshold distorting your system or your ability to feel it. Start with a track 71. If you are unsure of what seems a distortion, immediately go to the track 76, because it has 10% nd distortion to be clearly heard any audience, even on a bad audio. The distortion is a weak sales, podmeshannoe to clean tone. If you can not notice a difference between any of these tracks, then your distortion of a very high (> 10%) or just poorly hear. Most people can easily hear the distortion of 1% to a good system to run in waves.
Track 72. Same as track 71, only with the distortion of 1%.
Track 73. Same as track 71, only with the distortion of 3%.
Track 74. Same as track 71, only with the distortion of 1%.
Track 75. Same as track 71, only with the distortion of 3%.
Track 76. Same as track 71, only with the distortion of 10%.
Track 77. This test, like the previous test, except that the signal is used as a piece of music. Source distortions affecting all frequencies equally and does not affect the standard. Therefore, the test is more informative than the tests distortions which depend on the frequency or level. We believe that the musical material with a distortion of 3%, some listeners will be able to hear the sound system, but hardly anyone will be able to detect a distortion of 1%. Of course, a distortion of 10% should be obvious to all systems.
Track 78. Same as track 77, only with the distortion of 1%.
Track 79. Same as track 77, only with the distortion of 3%.
Track 80. Same as track 77, only with the distortion of 1%.
Track 81. Same as track 77, only with the distortion of 3%.
Track 82. Same as track 77, only with the distortion of 10%.
Track 83. The musical piece written without the added time delay and is intended as a reference for the next track. Much has been said and written about the different perceptions of frequencies human ear and the impact of this particular quality music reproduction. Often, the error was evaluated along with the rest, making its determination.
Track 84. The musical piece-demonstration group delay. The signal passed through the phase filter with a total delay at low frequencies around 7 milliseconds. This is tantamount to shifting the loudspeaker at a frequency below 100 Hz by nearly 7 feet (2.1 m) in relation to the rest of acoustic bands. The chain is able to demonstrate a reasonable delay in the absence of actual changes in the frequency domain. After you proslushaete both these two paths, ask somebody to switch, so you do not know what track is playing. Decide for yourself whether heard lag distorts sound at the hearing.
NOTICE : Effects on the following tracks to listen to on headphones or special loudspeakers. (See note)
The following tracks were included in disk in order to demonstrate several principles, which give to us the possibility to localize sounds. Extensive work by construction of lateral sonic scene was accomplished since the beginning of the appearance of stereo-system, while the ability audiosistem to completely surround us, was not central objective until recently.
These paths demonstrate the interesting procedure of record, using a process known as record "in the ear" (ITE). This procedure uses a pair of small laboratory sensors, it is less than 1/16 inches (1,6 mm) in the diameter, the established at a distance approximately 0,05 inches (1,27 mm) from each eardrum of human ear. With the use of this procedure, the transfer function of heads, channel of ear and pinna they are coded into the record. If we listen to this on the system with greater than 20 dB by separation into right and left channels (both acoustically and electrically), feeling of space, direction and environment it is fixed with the stunning realism. Even sounds, which occur behind you, they are determined very accurately. Take into consideration, that the requirements for the acoustic separation actually determine almost all diagrams of the arrangement of stereo-dynamics loudspeaker. Traditional audisistemy can reproduce lateral sonic component, but as a rule they not very well transfer its depth and height because of to the so-called auditory cross-correlation. This when left ear hears right loudspeaker just as leftist, and right ear in exactly the same manner hears left loudspeaker as right.
Records were made on Pit Row in 1994 during the races on Indianapolis Motor Speedway (that you will say about the large sonic scene?)
Track 85. You stand between Roger Penski team pit and the straight on the main track. Emerson Fittipaldi team behind and left of you and Jacques Villeneuve crew regulates pressure in the rear tyres and the right. Directly in front of you on the main road sweeping vehicles at a speed exceeding 220 miles per hour, Emerson starts in his car and left.
Track 86. You are walking along the pit lane. They are located from you from the left side, and racing track - from the right. Racing automobiles drive up they from behind and pass to the right. The position of announcer changes, since you go between the loudspeakers, divided by distance into 50 feet (15 m). We attempted to find one of the new engines of Mercedes in order to write down his sound, and you hear, as the Don to the left of you he speaks, "here that that we want". We attempt to rise more highly, since automobiles everywhere. You can hear, as drove up the automobile Of vil&squot;neva, and it stopped less than in 6 feet (1,8 m) behind you, after which the pneumatic jacks raised it from the earth.

Note. Information on special ITE-loudspeakers can be obtained:
Syn-Aud-Con
2730 W. County Rd.
100 North
Norman, IN 47264
(812) 995-8212

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