Pioneer catalogues 79 80 Catalog

Page 2

Sound is a mechanical, radiant energy with
three dimensions: pitch, intensity and duration.
At any point in time, this energy will have a
specific frequency (pitch) and a specific intensity
(loudness). And a moment later, all these
variables" will have shifted in relation to one
another, with the energy distributed into new
patterns.

THE TASK OF HIGH FIDELITY

All of these changes register to the ear the
way the modulations of a landscape, with moun-
tains and valleys, abrupt drops and rises, regis-
ter to the eye. It is the task of hi-fi to transform
this constantly-changing energy from mechani-
cal form to electromagnetic form and back again
while preserving all the subtleties of the orig-
inal.

Because certain areas of performance-fre-
quency, noise and distortion-can be objectively
verified in the lab using sine waves and other
controlled inputs, they have become the major
focus of nearly all hi-fi technology today. But
these are chiefly static measures which have

-1

in its ftutdamentaI/requency. But more quickly than one can think
about it, the energy hammer redistributed among the several sewndmy
vibrations.

little relation with actual music. The signals
measured contain less audio information-less
data density-than actual musical inputs do.
To improve hi-fi significantly, the Pioneer
engineers have gone beyond the static para-
meters and developed a more creative
approach to circuit design which takes
into account the transient, pulsive
and musical inputs introduced
when hi-fi equipment is put to 4
work in your listening room. -'
By basing their research \ , .
of electronic circuitry '
on a continual com-
parison with real
sound, they have
determined three
technical parame-
ters-frequency
range, dynamic
range and time
response-which
relate directly to the
three dimensions of sound.
They have thus been able to
duplicate with unprecedented accuracy
the dynamic qualities, or thrust of live
music.

VISUALIZING THE INVISIBLE

The diagram at the left is one way of visualiz-
ing the non-visual energy of sound. It illustrates
how dependent each of the dimensions is upon
the others and makes it clear that there is no
sense in treating only one dimension at a time.
When all the instruments of an orchestra are
filled in, the three-dimensional diagram quickly
begins to look like a model of a mountain range,
with peaks and valleys corresponding to the

In the first millisecond, must of a note.r energy i.r concentrated

PIONEERAND THE
OF THE THREE DIME