What is his commercial interest? If you can't back it up, it's a claim.
Read Rule 1. I guess you don't realize the mods don't read every post, and as Markw4 pointed out, this thread is considered a little less strict.
Please explain how criticizing certain DBT practices (not all) benefits anyone's business if we don't even know his business? Do his presumed customers buy more stuff because he mentions controls in DBTs? ...in DIYAudio!?!?
Spot on. The only other issue is when folk confuse a perfectly reasonable subjective feeling with "I'm right". Subjective is subjective. Music is subjective - we all like different things. and even we like the same things, we like them differently! Vive la difference!!
😛 Nope. Jakob (and MM) and I disagree on some major issues. I don't belong to either tribe that snipe back and forth. I'm an open-minded skeptic. Yes, I know the joke about having too much of an open mind, so my brains might fall out.
But I'm open to new ideas if they are backed up.I particularly dislike unfounded smearing. If you don't like someone's post, argue (even attack) ad rem, not ad hominem, and I'll be happy.
Me......my stereo is an inanimate object, a machine, a device with one job to do.
Thanks for that, your analogies are now so far off the mark I can save time by not reading your posts and relying on other people's quotes if there is anything that interests them.
Can’t pin it down exactly but yes anytime I change up something that affects phase it seems to move this in or out of focus.....
Like right now I’m right on the edge of it but have a pretty nice sound going otherwise......Something tells me the best place might be right at the edge.
The edge of what I have no idea.....that’s why I bring it before the braintrust.
To put a little more subjective explanation behind it......it seems to be when the soundstage envelopes you almost as if you were one with the music, micro details become abundantly clear and relevant.
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Where do you think the focus ought to be regards psychoacoustics in the audio equipment chain?
Have you tried listening nearfield? I presume your speakers are positioned sensibly? We had a very strange set up described a while ago.
What is this post good for other than for stirring up pages of pointless argument? The thread finally got back to some almost readable posts.
Really? If your selling snake oil you have to make the buyer believe. The only way the buyer will think he hears a difference is to not do a DBT, so you have to make sure he thinks that DBTs dont work. So take your snake oil home, install it and listen, no switching back.
There’s nothing about the way it’s set up right now that would lend itself to near field monitoring.
Speakers are 8’ apart, The subs are centered and overpower if you move too far fwd.
Positioning is tweeter just above ear level ....there is nothing behind the speakers open to below in a loft
But it’s not positioning.....I was getting the same results when it was setup downstairs (2’ from the wall) where it’s going to end back. (This is temp until cabinetry is done downstairs)
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For the end user or the designer/engineer? I guess the answers are the same: where improvements are needed, and either when solutions require trade-offs or when the solution is not obvious. By chain, I assume you mean from instrument to ear canal, and it would seem one should start at the weakest link which one can control/change. We have little control over the microphones, but we do over the speakers/room!
I'd bet the biggest influence in the next decades will be spatial sound, and I'll predict the solution will include IEMs with head tracking.
Apologies if you think I stirred up the pot. And I admit I've only read the last few hundred pages, but I don't sense any real change in the mixture. This whole time there have been many readable posts mixed with many that are less so. I was calling out what I saw as "less so".
One of those is an eccentric if outspoken objectivist. The other is in a league of his own that highlights all the ugliness of being an ignorant pseudoscience purveyor.
Most importantly, know you're ultimately (hopefully) gunning for your happiness, however you get there. Which may or may not translate to anyone else.
FYI
Amazon.com: General Wire SOQ Snake Oil, 1 Quart, Small: Home Improvement
Actually can be used with sound system wiring! Does what it claims.
(Disclaimer, I once put some loudspeakers in their old plant for a paging system.)
Amazon.com: General Wire SOQ Snake Oil, 1 Quart, Small: Home Improvement
Actually can be used with sound system wiring! Does what it claims.
(Disclaimer, I once put some loudspeakers in their old plant for a paging system.)
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Thanks Daniel, yah I get it; that was just cheap humor!
I am trying to share something I’m experiencing that seems to be relevant in audio research at this time.
It seems many don’t grasp exactly what I’m saying and the ones that do are on the defensive against constant ridicule.
So in the face of adversity I trudge on 😀
Who's selling snake oil? Are Geoff Kait or Peter Belt posting here? What are their usernames? Is EVERYONE here who sells an audio product selling snake oil?
Who is saying that ALL DBTs are useless? As far as I can tell, most people here would agree: Properly performed DBTs are useful. Poorly done DBTs are useless.
Where I disagree with many is how to define properly/poorly, and whether lay people can do them properly.
It seems that for a particular group here, anyone who points out issues of experimental design that the group is unable to intelligently answer must be selling snake oil. Attack the info, not the person! Attack ad rem not ad hominem.
Unless you can't, in which case, continue displaying your lack of understanding...
You could try moving closer, maybe toeing them in, you don't have to be part of an equilateral triangle
Golden words. All of them and especially the one I highlighted that could be cut in two rather in four.
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