To me, that is picking apart, and yes you are right if you really want to get into it.Eric D wrote: I am not trying to pick apart your argument, but this statement is well worth looking at.
The transfer function does not remain constant, unless all environmental variables remain constant. If you switch from a 1cuft sealed box to a 2.5cuft ported one, the change in box volume will affect the cabin volume as a system, unless you built the installation to wall off the enclosure in the trunk for instance. This is actually something I have done in installations. I have build sealed walls with a hole to bolt the box up too, such that different boxes could be constructed without changing the transfer function of the cabin.
But what does all this matter if you roll down the window and everything changes? Or if someone rides with you and everything changes?
You can even go so far as to saying climatic shifts can also alter cabin gain because of humidity and barometric pressure changes. Do we really need to get into the depths of the changes?
Along those lines even a nice wet fart could probably alter the vehicles acoustics, should we also include that into our planning?
While the spatial change inside tha cabin may effect its overall transfer function & resonance, it's change will be relevant to the size difference in the box change. (ie small .5cuft to 2cuft size won't be anything compared to a 2cuft to walling off the cabin)
My point is, we can only plan to a certain extent. While these changes will take place, the chances of actually noticing them are slim and the results of planning around them will never be worth the immense time required planning, thus why I don't give them too much consideration.
You will never get the exact same results in a car as modeled, but the more attention you give to the details the closer you can get to what you want. It's a path of diminishing return, and at what point you decide enough is enough is up to you.
I will audition a car with a sealed enclosure, even move it around to test various orientations, then I model that against a new box and let how the small sealed actually sounded help direct the tuning for the new box. I do not need to get very detailed at all to still have great results.
Ajaye, a valid point.
As for the remastered, that would entirely depend on if the artists voice was flat, or if the original recording made his voice sound flat. Which ever recording made the performance as true to live (live in a studio, not at a concert which can have worse acoustics than a car) it would, to me, be the most accurate. There are also many people who believe the original recorded medium makes it sound better, like old record fanatics who must have that hiss & crackle of the needle to make the sound enjoyable, or even those who must have tube amps to get that warmth in the sound. Both have absolutely nothing to do with the original music, but still must be present to enjoy the music.
Also keep in mind that tapes do not contain very low bass, so until the time of CDs sealed boxes provided all the low end you could need/get. CDs changed that, and from then on low bass was readily recorded and sold, and getting that low end to play accurately became important. I can think of a handful of systems from back in the tape days that sounded awesome, and shudder to think what they would sound like by today's standards.