Consumer and professional audio must agree on reproduction standards for recordings to translate

Evidence

Next, what do we mean by “agreement”? For simplicity, suppose that each player keeps (or may keep) his current “official” offer recorded in some manner that will be visible to the referee when the bell rings. Perhaps he keeps it written on a blackboard that the other player can see; perhaps he keeps it in a sealed envelope that is surrendered to the referee when the bell rings; perhaps he keeps it punched into a private keyboard that records his current offer in the referee’s room. When the bell rings, the blackboard is photographed, the envelope surrendered, or the keyboard locked, so that the referee needs only to inspect the two “current” offers as they exist at midnight to see whether they are compatible or not. — Thomas C. Schelling, The Strategy of Conflict, 616 (#expands, via linked claim)

In some special cases, full authenticity is sought in reproduction of sound. In communication acoustics, authenticity is determined with human perception as the reference; for authentic reproduction, the auditory perception of a sound scenario in the reproduced conditions should be identical to those in the original conditions, as illustrated in Figure 14.1. Some example cases where authentic reproduction is essential are the reproduction of natural sound scenarios for hearing aid testing and audiology, different training tasks, telepresence applications, and the evaluation of room acoustic parameters of different venues. — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1793 (#complicates, via linked claim)

Categorization

• XREF: connects to: Defining agreement requires specifying concrete recording operations — Thomas C. Schelling, The Strategy of Conflict, 616; Authentic sound reproduction is judged by perceptual identity, not signal fidelity — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1793; Headphones should be calibrated for semi-reflective rooms because stereo recordings are mastered for them

Related

• Authentic sound reproduction is judged by perceptual identity, not signal fidelity (similarity 0.81)
• Commercial recordings aim for plausibility, not authentic reproduction (similarity 0.80)
• Sound quality is judged as deviations from ideal amounts of perceptual dimensions (similarity 0.79)
• Recorded art translation depends on a shared consumer-professional audio standard (similarity 0.79)
• Subjective agreement requires identical delivered signals and matched objective measurements (similarity 0.78)

Broader Connections

• Defining agreement requires specifying concrete recording operations #expands (0.82) — Thomas C. Schelling, The Strategy of Conflict, 616
• Authentic sound reproduction is judged by perceptual identity, not signal fidelity #complicates (0.80) — Ville Pulkki, Matti Karjalainen, Communication Acoustics- An…, 1793
• Headphones should be calibrated for semi-reflective rooms because stereo recordings are mastered for them #exemplifies (0.78)