Magnetar,
not sure if you meant me, our time of heated exchanges was a few months back. Anyway points taken and no offense. I agree wholeheartedly that there are many parameters and often a step forward here is a step backwards there. I am always experimenting as well. Usually with the same drivers though and within the dipole scheme of things.
One example. I am just back from a concert of chamber music and it struck me again how smooth and sweet live violins sound. And compared to such a small concert setting, a typical record-playback high resolution system actually exaggerates detail and imaging greatly - and sounds harsher as well. The point being, we may sometimes focus too much on details that may not matter as much as we think (be it dynamics, detail, or frequency response etc) and not enough on a coherent whole. Sometimes, massive compromises in one area (but of the "natural" kind) may not change the overall "likeness" of sound reproduction, while some small but "unnatural" artifacts may throw the whole thing off completely. Getting the compromises right is the key.
not sure if you meant me, our time of heated exchanges was a few months back. Anyway points taken and no offense. I agree wholeheartedly that there are many parameters and often a step forward here is a step backwards there. I am always experimenting as well. Usually with the same drivers though and within the dipole scheme of things.
One example. I am just back from a concert of chamber music and it struck me again how smooth and sweet live violins sound. And compared to such a small concert setting, a typical record-playback high resolution system actually exaggerates detail and imaging greatly - and sounds harsher as well. The point being, we may sometimes focus too much on details that may not matter as much as we think (be it dynamics, detail, or frequency response etc) and not enough on a coherent whole. Sometimes, massive compromises in one area (but of the "natural" kind) may not change the overall "likeness" of sound reproduction, while some small but "unnatural" artifacts may throw the whole thing off completely. Getting the compromises right is the key.
Never a truer word spoken MBK!
After a lot of testing of different buffers for an inverted Gainclone recently, and using both acoustic music and the more 'hi-fi' type of material, I found myself liking different buffers for the different types.
Buffers that produced more detail didn't necessarily sound better for the acoustic music (violins and piano being a good example) and vice versa.
I have even considered using two buffers with a selctor switch - one for acoustic music and the other for electronic stuff. Unfortunately with speakers, that's a little more impractical!
Ronco,
I'm not aware of any time limit. I have had a problem in the past with posting a message then getting an error and not being able to get my message back. Since then I have habitually copied all the text before posting if it's a large post. If anything goes wrong, you can then re-send it without having lost anything.
There is no need to send a bunch of one line posts.
I'm not aware of any time limit. I have had a problem in the past with posting a message then getting an error and not being able to get my message back. Since then I have habitually copied all the text before posting if it's a large post. If anything goes wrong, you can then re-send it without having lost anything.
There is no need to send a bunch of one line posts.
Short bass horns
What do You thing about new Avantgarde Audio Meta Duo? Did somebody had chance to heard them? It looks that they somehow brake the rules with published data.
Rgds,
Matjaz
http://www.avantgarde-acoustic.de/news/news_ausgabe.php?sprache=en&id=53
What do You thing about new Avantgarde Audio Meta Duo? Did somebody had chance to heard them? It looks that they somehow brake the rules with published data.
Rgds,
Matjaz
http://www.avantgarde-acoustic.de/news/news_ausgabe.php?sprache=en&id=53
the "you are there" vs "they are here" is something very interesting to me
my harbeth p3esr + sub or atc scm7 v3, in my treated room really sounds more like "they are here"
my jbl lsr32 in my untreated living room is clearly more the "you are there". personally, I prefer the "they are here"
my harbeth p3esr + sub or atc scm7 v3, in my treated room really sounds more like "they are here"
my jbl lsr32 in my untreated living room is clearly more the "you are there". personally, I prefer the "they are here"
Reflections
Imo reflections are the mayor reason that reduce the "they are here" experience
Reflections are also inside the speakers.. These can be tamed to a large degree. Opeb baffles are dipole so always out of phase. Placing far away from the rear wall helps but youd almost have to devide your room in two....
Imo reflections are the mayor reason that reduce the "they are here" experience
Reflections are also inside the speakers.. These can be tamed to a large degree. Opeb baffles are dipole so always out of phase. Placing far away from the rear wall helps but youd almost have to devide your room in two....
Cardioid
Haven't read all the posts but real world size horns are monopoles at very low frequency. They become increasingly directional as mouth size increases and frequency rises.
You could put two horns back to back, reverse polarity to the rear one and add delay for full cardioid performance.
Actually has any one done that or should I patent it now!!
Haven't read all the posts but real world size horns are monopoles at very low frequency. They become increasingly directional as mouth size increases and frequency rises.
You could put two horns back to back, reverse polarity to the rear one and add delay for full cardioid performance.
Actually has any one done that or should I patent it now!!
Depends on the reflections. With the right delay and dispersion the opposite can be true
Having had a listening room (lava cave) that was hypo-echoic thru the audio bandwidth, the Here/There thing became completely recording dependent. Sometimes it was even both in the same recording. For example a close mic'd singer in front of a large orchestra could be both "here" for the singer and "there" for the orchestra.
Once the room really isn't fighting you, it's amazing you'll find in the recordings. Or sometimes disappointing.
Once the room really isn't fighting you, it's amazing you'll find in the recordings. Or sometimes disappointing.
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