I made this series of test tones and sine sweeps to help a member set up his system. I figured since I went to the trouble of packaging these and uploading them, I would share these with everyone. These will work great for setting up your system, adjusting crossover points, setting EQs, and determining how flat the system really is (using the final series of sweeps)... oh yeah, and just for showing off, if you so choose . All are unclipped 0db signals. I have enclosed the track list in a wordpad file, and I will include it here for you to determine if this set is for you.

I have also added a set of pink noise tracks, as requested by another member. It will be the second download link. I also will add a tutorial with images below to help you extract and unpack the .rar files to a standard .wav folder and files.

This is saved on rapidshare, uncompressed in .wav format. It is under 100mb so you do not need a premium account to download it. DO NOT COMPRESS THIS FILE TO AN MP3!!! You may convert this to any lossless format, including, but not limited to .flac, .ape, and .wmp. Compressing these tones will result in incorrect settings, as lossy formats will not maintain all the required information. If you are not sure what formats can and can't be used, please ask here or PM me directly.

I take no responsibility for you misusing these tones and damaging your speaker system. If you have any questions, ask. If you have any doubts, let a professional perform your system set up and tuning. These tones may cause catastrophic speaker failure if misused, and they can cause permanent hearing loss.

Sine wave signals

9- 1kHz ref.:14db Fs

10- 20Hz

11- 25Hz

12- 31.5Hz

13- 40Hz

14- 50Hz

15- 63Hz

16- 80Hz

17- 100Hz

18- 125Hz

19- 160Hz

20- 200Hz

21- 250Hz

22- 315Hz

23- 400Hz

24- 500Hz

25- 630Hz

26- 800Hz

27- 1KHz

28- 1.25KHz

29- 1.6KHz

30- 2KHz

31- 2.5KHz

32- 3.15KHz

33- 4KHz

34- 5KHz

35- 6.3KHz

36- 8KHz

37- 10KHz

38- 12.5KHz

39- 16KHz

40- 20KHz

Sliding frequencies

41- 20Hz to 160Hz

42- 160Hz to 125Hz

43- 1.25kHz to 10kHz

44- 10kHz to 20kHz

DOWNLOAD LINK FOR TEST TONES AND SINE SWEEPS HERE:

RapidShare: 1-CLICK Web hosting - Easy Filehosting

Technical Tracks

1- Left and right channels test

2- pink Noise:Ref.-14db Fs

3- Front channels polarity test

DOWNLOAD LINK FOR PINK NOISE TRACKS HERE:

RapidShare: 1-CLICK Web hosting - Easy Filehosting

When you click on the rar file

you will see this (without the red circle)

Click the extract button (circled) and you will see this

Just click OK (circled). It will create the folder for you in the same location as the downloaded file, and extract all the files in the folder, leaving you with this

open it and you will see this

Nice.

Excellent post. Pinning now.

Excuse me, where are the other frequencies from 20 to 100 Hz ?

Awesome stuff !!!

Excuse me, where are the other frequencies from 20 to 100 Hz ?

Tracks 10 - 17 Track 9 is just a reference track.

Excuse me, where are the other frequencies from 20 to 100 Hz ?

Tracks 10 - 17 Track 9 is just a reference track.

No, I mean - 21...30,31,32,33,34 and so on. All from 20 to 100.

That's in the paid version

Excellent post. Pinning now.

Awww, shucks... I've been pinned by post 132. Some folks wait their entire lives for that... i would like to thank the Acadamy, my director...

:encore:

Excellent post. Pinning now.

Awww, shucks... I've been pinned by post 132. Some folks wait their entire lives for that... i would like to thank the Acadamy, my director...

i've been hosting the largest collection of tones for over a year now.

They are compressed to 320kbps MP3. I've compared these to the raw form before compression and see no change so that's why they remain at 320kbps.

I've got all the tones that are missing plus hundreds more.

Anyone is willing to get them for free if they wish because i do not host them, i let another company do it for me so a free giveaway.

Just check my sig, hosting site is always up 24\7.

I also have 4 custom sweeps all recorded at -3db so u do not cook your coils.

1 sweep is for subrange, next is for midrange, next is for high range... and the "Ultimate Sweep" is the entire frequency spectrum... over 17min long. Geared to test your setup in precise detail.

It really isn't advisable to compress test tones. There is far too much information lost.

i understand what you are saying but from using the software to analyze it i see no difference.

I will tell you what though.

I'll do a test if you think this will determine the answer to this speculation.

Would you consider it fair if i made a single tone, one uncompressed and one compressed to 320kbps MP3 and burp it in a vehicle doin over 150 right now?

Will this suffice speculation?

I'll have the guy run it 4 times, twice in each format to make sure the numbers can be backed up.

This test can be done either this weekend or next weekend.

Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, over 4 times that of a 320 kbit/s MP3. Does this mean it is 4X as loud? Of course not. I am not sure what exactly it is you are trying to achieve with this one sided challenge of the difference in quality between an uncompressed format vs a compressed format.

I would certainly prefer more accurate information as I set up my system. But really, it is up to the end user to decide what is best for them.

Uncompressed audio as stored on an audio-CD has a bit rate of 1,411.2 kbit/s, over 4 times that of a 320 kbit/s MP3. Does this mean it is 4X as loud? Of course not. I am not sure what exactly it is you are trying to achieve with this one sided challenge of the difference in quality between an uncompressed format vs a compressed format.

I would certainly prefer more accurate information as I set up my system. But really, it is up to the end user to decide what is best for them.

When music is compressed, most the information lost isn't audible to the human ear (as long as we are talking >192kbps). Compression removes unnecessary parts of the spectrum in sound. You must not know exactly what you are talking about. These lossless test tones are going to be EXACTLY the same as 320 (constant or v0) compressed test tones. If you can hear an audible difference, then you got some pretty amazing ears.

Edited July 9, 201015 yr by hatrix

in terms of test tones.

I use tones to set crossovers and for burping.

So... for a debate about quality comparison... i can test the difference of a raw WAV vs compressed MP3 on the meter.

The two separate tracks show they both peak exactly at their designed calculation and at the same amplitude so the only thing left is to use a measuring device to see if their is a real-world difference in output pressure.

When music is compressed, most the information lost isn't audible to the human ear (as long as we are talking >192kbps).

That is entertaining. Clearly you don't know what you are talking about. Reduction of the information down to 192 is a reduction of 7:1. Nobody can honestly believe that there is a ratio even close to 7:1 of information that you cannot hear in any recording. Try reading up on the subject.

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.

With too low a bit rate, compression artifacts (i.e. sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

There are several limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder. Newer audio compression formats such as Vorbis, WMA Pro and AAC are generally void of these limitations.[36]

In technical terms, MP3 is limited in the following ways:

* Time resolution can be too low for highly transient signals and may cause smearing of percussive sounds.

* Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution.

* The combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.

* Frequency resolution is limited by the small long block window size, which decreases coding efficiency.

* There is no scale factor band for frequencies above 15.5/15.8 kHz.

* Joint stereo is done only on a frame-to-frame basis.

* Internal handling of the bit reservoir increases encoding delay.

* Encoder/decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback.

* The data stream can contain an optional checksum, but the checksum only protects the header data, not the audio data.

When music is compressed, most the information lost isn't audible to the human ear (as long as we are talking >192kbps).

That is entertaining. Clearly you don't know what you are talking about. Reduction of the information down to 192 is a reduction of 7:1. Nobody can honestly believe that there is a ratio even close to 7:1 of information that you cannot hear in any recording. Try reading up on the subject.

When performing lossy audio encoding, such as creating an MP3 file, there is a trade-off between the amount of space used and the sound quality of the result. Typically, the creator is allowed to set a bit rate, which specifies how many kilobits the file may use per second of audio. The higher the bit rate, the larger the compressed file will be, and, generally, the closer it will sound to the original file.

With too low a bit rate, compression artifacts (i.e. sounds that were not present in the original recording) may be audible in the reproduction. Some audio is hard to compress because of its randomness and sharp attacks. When this type of audio is compressed, artifacts such as ringing or pre-echo are usually heard. A sample of applause compressed with a relatively low bit rate provides a good example of compression artifacts.

There are several limitations inherent to the MP3 format that cannot be overcome by any MP3 encoder. Newer audio compression formats such as Vorbis, WMA Pro and AAC are generally void of these limitations.[36]

In technical terms, MP3 is limited in the following ways:

* Time resolution can be too low for highly transient signals and may cause smearing of percussive sounds.

* Due to the tree structure of the filter bank, pre-echo problems are made worse, as the combined impulse response of the two filter banks does not, and cannot, provide an optimum solution in time/frequency resolution.

* The combining of the two filter banks' outputs creates aliasing problems that must be handled partially by the "aliasing compensation" stage; however, that creates excess energy to be coded in the frequency domain, thereby decreasing coding efficiency.

* Frequency resolution is limited by the small long block window size, which decreases coding efficiency.

* There is no scale factor band for frequencies above 15.5/15.8 kHz.

* Joint stereo is done only on a frame-to-frame basis.

* Internal handling of the bit reservoir increases encoding delay.

* Encoder/decoder overall delay is not defined, which means there is no official provision for gapless playback. However, some encoders such as LAME can attach additional metadata that will allow players that can handle it to deliver seamless playback.

* The data stream can contain an optional checksum, but the checksum only protects the header data, not the audio data.

That's why i said >192.

I deal with lossy and lossless formats all the time. Audible differences between 320 and FLAC are usually minimal, and sometimes there isn't any audible difference. It would be more commen in music to hear audible differences since it deals with lots of frequencies. In this case, your dealing with a single frequency. Like I said before, if you can hear an audible difference, or even SEE one for that matter, give me a call. I guarantee there will be no difference playing the lossy vs lossless tones.

http://s303.photobucket.com/albums/nn147/shizzzon/?action=view&current=VIDEO0001.mp4

Here is proof that compressed MP3s do not interfere with test tones.

If to the ear isn't audible and software analysis of the two shows no difference.. the only thing left is to put them on the meter!

THANX ! I've been looking for that 20 Hz to 160 Hz slide uncompressed

This is a useless stickie.

kinda like the majority of your recent posts eh?

yea but it wasn't stickied.

The higher ups like me.