Recent content by Duke

  1. Duke

    What do floor standers really bring to the table?

    Imo large stand-mount speakers and/or floorstanders designed from the outset to be used with a distributed multi-sub system is a logical approach, one which I have been using for many years, though all of mine have been two-way designs. Here is a photo of one of my first such systems...
  2. Duke

    Perceptual Effects of Room Reflections

    Actually I was thinking of about 70 degrees forward-firing, and then about 50 degrees rear-firing, then setting the speakers up with a LOT of toe-in (axes criss-crossing in front of the sweet spot), which correspondingly toes-out the rear-firing elements. I was talking about reflections which...
  3. Duke

    What do floor standers really bring to the table?

    It's a juggling of tradeoffs. The wider, shallower double-dip does arguably model worse on paper, but ime sounds better in the midbass region if done well, and I'll have to just make that claim without supporting objective evidence. If the crossover to the high frequency section is too high...
  4. Duke

    What do floor standers really bring to the table?

    The larger enclosure of a tower loudspeaker may allow the designer to do some things better than he could in a stand-mount format, aside from bass extension. For instance having two (or more) midwoofers on the front of the tower covering the same frequency region will result in each having its...
  5. Duke

    Which speakers are the Classical Music Pros using?

    [multisub tangent] I was an early adopter. Todd Welti and Alan Devantier's paper "Low Frequency Optimization Using Multiple Subwoofers" was published in May of 2006. I was actually already producing and selling a four-small-subs system (called "The Swarm") by then, but cannot take credit for...
  6. Duke

    Which speakers are the Classical Music Pros using?

    Brilliant demo!! I have a question about this statement: "[The Lares Light system] had been set up to mimic the reverb in the recording." Could you get thoroughly enjoyable results with "set it and forget it", or did the system call for dialing in the settings for each recording? How about...
  7. Duke

    Which speakers are the Classical Music Pros using?

    I don't know, unfortunately! I would guess that filtering signals which would tend to give false localization cues was probably part of what Griesinger did at Lexicon, and presumably part of what others have done since. What Griesinger brought to the game was an amazing and perhaps unique...
  8. Duke

    Which speakers are the Classical Music Pros using?

    In this context, the de-correlated energy would be signal present in one channel but not identically present in the other. By inverting the phase of one channel, and then summing the two channels, everything that is identical to both channels is cancelled (because it's exactly out-of-phase and...
  9. Duke

    Which speakers are the Classical Music Pros using?

    I'm not sure "extracting" is the entirety of what's going on - I'm under the impression that what is extracted (de-correlated energy) is then processed rather extensively. Sound On Sound interviewed David Griesinger of Lexicon about twenty years ago, and apparently there was a lot of applied...
  10. Duke

    Which speakers are the Classical Music Pros using?

    Not that I have listened to all that many upmixing multichannel music systems, but I don't recall hearing one that I would choose over a really good same-price-ballpark two-channel system, with the exception of a Lexicon-based system decades ago. Conceptually good multichannel makes sense to...
  11. Duke

    Which speakers are the Classical Music Pros using?

    I just read that chapter recently. Hugh Brittain's cross-firing configuration has this advantage in addition to image stabilization: It results in significant contralateral reflections which presumably contribute to reduced interaural cross-correlation and therefore improved sense of...
  12. Duke

    Which speakers are the Classical Music Pros using?

    I assume you're referring to reflections which arrive from the same direction as the first-arrival sound; my understanding is that that's arguably the worst possible direction for reflections to come from. But assuming the playback room isn't overdamped, we should be getting reflections from...
  13. Duke

    Which speakers are the Classical Music Pros using?

    Does the derivation of a difference signal for the surround channels effectively keep the front soundstage sound out of them? Another question arises from my upmixing ignorance: Are the settings on your processor "set and forget", or do the ideal settings vary from one recording to the next...
  14. Duke

    Which speakers are the Classical Music Pros using?

    Thank you for posting so much information here, and in particular about the rear-firing tweeters. Very interesting... if I understand correctly, the intention was to improve the spectrum of the reflected sound field, but presumably the rear-firing tweeters failed to make a worthwhile...
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