Search results

Well there's your problem right there! Instead of listening to accusations, professional or not, you should have gotten input from an acoustician. (sorry, couldn't resist!) Seriously, I appreciate for your in-depth observations and descriptions of the perceptual changes that arise as you make...

The MGC-1, sometimes called "the Magic speaker", was essentially two controlled-pattern loudspeakers in one enclosure. The main speaker's job was to get the direct sound right, and the side-firing array's job was to make sure the reverberant field was right. The side-firing array was powered...

Very interesting! I haven't worked with multi-driver arrays but it seems to me there's room in the marketplace for something considerably less expensive than the Beolab 90 and the Lexicon SL-1, something that perhaps doesn't cover as wide a range of radiation patterns but does the patterns...

"Soft" = "not loud enough" (in the context I was using the term). Agreed! Imo the farther along one can get via intentional radiation patterns, the better. Quoting acoustician Matthew Poes: "A speaker that has controlled dispersion does basically the same thing you'd expect an acoustic...

Well no, but ime either the recording venue's package of cues or the playback room's package of cues will tend to be perceptually dominant. I would interpret a "you are there" sense of space as perception being dominated by the recording's venue cues rather than by the playback room's cues...

Those large radius side round-overs primarily benefit the tweeter (though they are large enough to benefit the midwoofer as well). Notice that the tweeter is below the midwoofer. Now look at the bottom edge of the main enclosure. THAT's where the round-over is! It's where it would do the...

The late, great David Smith (JBL designer of the landmark Model 4430 studio monitor) found that, within limits, the reflection field's frequency response can compensate for a deficiency in the direct sound's frequency response. From a 2015 post of his on another forum: "I have created a test...

No you said it right. In my mind's eye I was visualizing on-axis and off-axis curves, but you very clearly said "DI curve". MY bad!

Got it! THANKS!! I'm now seeing in my mind's eye the DI curve of the M2 versus the DI curve of the Salon 2, so I think I'm on the same page as you now. (I was mis-reading your Post Number 2038 and seeing, in my mind's eye, something different from what you were actually saying. Senior moment!)

I must have somehow overlooked that, and imo that's an important piece of information! Can you tell me where he said that? I'm not asking you to dig it up, just point me in the right direction, if you remember where it was.

I have not found deliberate dippage in the 3-4 kHz region to be desirable, though I have NOT experimented with dipping ONLY the on-axis sound @ 3-4 kHz while leaving the off-axis energy undiminished. Specifically, and this was sighted and not blind, imo dippage @ 3-4 kHz (both on and off axis)...

Very creative! I look at 700 Hz to 7 kHz (based on the ideas of David Griesinger), which is arguably in the same ballpark. My focus is on two-channel playback and I don't have experience with Atmos or Auro, but agree with you about the desirability of reflections coming from the sides and...

I agree with all of this (assuming we're talking about two-channel playback). Imo when the perceived sense of acoustic space, including soundstage depth, varies significantly from one recording to the next, that's an indication the recording's spatial cues are dominating over the playback...

Obviously I'm being presumptuous here to springboard off your phrase "... and I may not be done yet"... Have you considered trying subs positioned to the left and right of the main listening position, operating in phase quadrature, as a technique for getting improved envelopment from sources...

And what I see is a form-follows-function design, which to me is beautiful. Anyone who doesn't want to read something technical, please skip past this post. One of the issues with a round horn is that its on-axis frequency response can have a ripple due to the reflection around the perimeter...

Jorma Salmi of Gradient introduced the "Revolution" in 1993, and it used (and uses - it's still in production!) passive cardioid loading down to about 200 Hz. I was a Gradient dealer for many years and still think very highly of the brand. The passive cardioid concept may date back to a 1973...

Some enjoy being creators, even though doing so can eat up an inordinate amount of time and resources. Ime there is something good for the soul about giving the best ideas you have the best chance you reasonably can of coming to life, so to speak. And some enjoy being critics.

@GuidoK, years ago I was contemplating pursuing a loudspeaker-related patent, and received this advice from Earl Geddes, who holds multiple patents. His advice might be applicable to your situation: He told me that loudspeaker designers are so independent-minded that they are looking to do...

A few months ago I attempted to speed up my search for woofers with a particular set of characteristics, among which was having one or more demodulation rings (also known as "shorting rings" or "Faraday rings"). The answers I received were actually wrong more often than right! I found out by...

Agreed. "You are there" is a different - and arguably greater - challenge in the bass region than it is further up the spectrum.