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11-24-2007 Post does not mapped to Knowledge Tree
guy sergeant
United Kingdom
Posts 258
Joined on 08-03-2004

Post #: 76
Post ID: 5930
Reply to: 5929
Vagueness
I agree its terrible, but the concept they are talking about sounds familiar and it would seem they'd be achieving some of the effect by adding in NXT panels in some way.

They invite interested parties to email them.  They don't seem to be selling anything directly. Odd, I wonder how much interest they get.
11-24-2007 Post does not mapped to Knowledge Tree
el`Ol
Posts 225
Joined on 10-13-2007

Post #: 77
Post ID: 5935
Reply to: 4591
Inverted injection
Romy,

What happens when you use the injection channel with inverted polarity?
11-24-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,535
Joined on 05-28-2004

Post #: 78
Post ID: 5937
Reply to: 5935
Injection channel with WRONG polarity in my case is not good.
 el`Ol wrote:
Romy, What happens when you use the injection channel with inverted polarity?
Unsuccessful. My Injection Channel (Tannoy 10” Red) is too with bandwidth and even at minus 10db is “talks” with HF channel of Macondo, which does not make it to sound properly. Do not forget that this overly saturated, insultingly colored, and heavy syrupy HF of the Tannoy’s Red is one of important properlyes of my Injection. Through I would not say “injection channel with inverted polarity” but rather with “injection channel with wrong polarity”, as in my care the REDs are inverted to be in right proporly (they use second order against the all-first-order Macondo)


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
11-24-2007 Post does not mapped to Knowledge Tree
el`Ol
Posts 225
Joined on 10-13-2007

Post #: 79
Post ID: 5944
Reply to: 5937
Addition of harmonics
I wouldn´t talk about "wrong polarity", rather about "dislike of the resulting harmonic spectrum". Wonder how the result would be with phase-correct FIR filters for the RED.
11-24-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,535
Joined on 05-28-2004

Post #: 80
Post ID: 5945
Reply to: 5944
It is nothing to do with “harmonic spectrum”
 el`Ol wrote:
I wouldn´t talk about "wrong polarity", rather about "dislike of the resulting harmonic spectrum". Wonder how the result would be with phase-correct FIR filters for the RED.
El`Ol, it is not how I see the sings and I talk about wrong polarity. The wrong polarity very easy could be registered subjectively or objectively by simple measurements and it has litle to do with "harmonic spectrum". Still, you might be on something proposing other type crossover on Reds. I might play with it sometime in future… if I define what I want from it ( BTW, the Red 10” have quite complex crossover though… but I do not need liner results in Injection Channel) Sometimes I will look into it deeper, but I would like do not spoil what I have now. It is “as is” is not bad at all… for the Injection purpose.


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
11-24-2007 Post does not mapped to Knowledge Tree
stevie7V
40 minutes NW of London, England
Posts 8
Joined on 11-25-2007

Post #: 81
Post ID: 5947
Reply to: 5927
Oops - Layered Sound
 guy sergeant wrote:
Are this company thinking along the same 'Oops' lines?

http://www.layeredsound.com/index.html


I have some experience with the 'Layered Sound' concept and although I haven't read all of this thread, I think that it does perhaps have some 'Oops' about it.

Basically, you run an NXT type panel speaker in parallel with your moving coil speaker.  The moving coil speaker can then be designed 'by the conventional book' for minimum panel resonances and the NXT adds the equivalent of 'panel vibration'.  The advantage is that you can run the NXT via a separate amplifier and control its level relative to the main speakers.  If you get it right this combination adds an air of realism, particularly with regard to the ambience of the system - a bit like the old Haffler setup.  Placement of the NXT speakers is not critical and the frequency response only needs to be from about 200Hz to about 8kHz. When I use it I set the volume of the NXTs to around -6dB relative to my main speakers.  At this level the easiest way for me to tell whether it's on or not is for me to listen to the rear of the room, as that is where I detect the biggest effect. Subtle is the key to success here.

Please note that the Layered Sound system is patented and you can't do anything commercial with it without licence from the Layered Sound guys (that's how they make their money, although I believe that most of their work has been with setting up PA systems for concert halls - I may be wrong).

I hope that this helps and perhaps inspires some experimentation.


defy convention - make music
11-25-2007 Post does not mapped to Knowledge Tree
el`Ol
Posts 225
Joined on 10-13-2007

Post #: 82
Post ID: 5952
Reply to: 5945
Assumed you have perfect time alignment...
When the RED has 12dB x-over and the Mocando is all 6dB, then you have addition in the treble and subtraction in the bass ore vice versa. Impulse spikes will always have right polarity, since the RED is 10dB down. If one recorded a track with the RED and mixed in an audio editor after aligning manually, then one could rule out problems in the time domain.
11-25-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,535
Joined on 05-28-2004

Post #: 83
Post ID: 5954
Reply to: 5952
Where they do not work against each other.

el`Ol,

it is so obvious with simple listening where is right polarity that is you try it you would not have doubts where is “right” and where is “wrong”.  It is very clearly where the Red works with Macondo and where they work against each other.

I have to admit that the entire configuration is very messy and pretty much defines any common sense of speaker engineering, still it “works” for what I would like to accomplish and I do imply it. No one who heard my playback since I stated to use Injection complained that Injection has damages imaging, nevertheless I can acknowledge hear the imaging damage.  However, I do found that the benefits do overcome the negative side of Injection.

I spent quit a lot of time thinking how to integrate the second order Reds with first order Macondo. Moving the injection channel, measuring and listening I eventually found out that if I was able to sum the maximum amplitude of Macondo and Injection Channel feeding the playback with 9K then injection sound well-integrated timing-wise with Macondo. Ironically it does sum maximum at 150Hz as well. So, currently I have all Macondo running at plus and the Injection Channel along with the “Water Drop tweeter” ruing at minus.

The caT


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
11-28-2007 Post does not mapped to Knowledge Tree
el`Ol
Posts 225
Joined on 10-13-2007

Post #: 84
Post ID: 5970
Reply to: 5954
Injection in Wilson WAMM
David Wilson says about the WAMM:

Atkinson: What range does the electrostatic unit cover?

Wilson: It operates above 5kHz. And it operates at a very low level. It functions primarily to provide part of the leading edge of high-frequency transients.

Seems to be the opposite of what you do, main system for tonality and injection for dynamic "edge".

11-28-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,535
Joined on 05-28-2004

Post #: 85
Post ID: 5971
Reply to: 5970
In WAMMs it looks more like “in-air-damping”.

 el`Ol wrote:
David Wilson says about the WAMM:

Atkinson: What range does the electrostatic unit cover?

Wilson: It operates above 5kHz. And it operates at a very low level. It functions primarily to provide part of the leading edge of high-frequency transients.

Seems to be the opposite of what you do, main system for tonality and injection for dynamic "edge".

Yes, el`Ol, you are right - David Wilson uses in his WAMM injection principles, as you said with opposite objective. I do not know how execlsy it all works in his speakers as I never heard the WAMMs and never had a chance to dissect it’s principles. Generally WAMM uses electrostatic 3-directobal panel, how it is connected and how it calibrated I do not know. I do know that having large panel did help to David to accomplish what he intended as the larger traducing panel helped him to deal with lobbing.

If David says that the electrostatic set very low level and it’s function to care leading edge of high-frequency transients then it is what it is. Still it should be heard HOW it done, instead of juts knowing WHAT was done. Conceptually I do understand what David was trying to do with it – to inject that front-wave’s uncertainty that is so liked by Quad people. It might be very useful in his loudspeakers. Do not forget the WAMM was over 90dB sensitive child of end of 80s, the time where large SS HF-brutal amps of Marl Levisohn type were dominating. I know what David Wilson was fighting with using his way of injection.

The Macondo’s Injection is not just look at the things from opposite side but looks at the things slightly differently all together. It does not moderate attacking waveform (at least intentionally) but it rather injects wide-spectra artificial colors and artificial texture. In my current seating (using APS PurePower unit) I set my Injection Channel at minis 15dB.

Rgs, Romy the Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
11-30-2007 Post does not mapped to Knowledge Tree
Winnie
Herts UK
Posts 10
Joined on 12-01-2007

Post #: 86
Post ID: 5981
Reply to: 5930
More a reality than you imagine
 guy sergeant wrote:
I agree its terrible, but the concept they are talking about sounds familiar and it would seem they'd be achieving some of the effect by adding in NXT panels in some way.

They invite interested parties to email them.  They don't seem to be selling anything directly. Odd, I wonder how much interest they get.


I think you will find that the inventor and patent holder Shelley Katz is very active.

He has formed a new company 'Podium Sounds' and his novel panel speakers have been very well received. It may not be long before we see his vision (and lifetime work) realised with the addition of his sophisticated panel speakers (forget NXT) into a horn system with full implementation of Layered Sound.

Do not be misled by the apparent malaise on the internet site you found.

http://www.podiumsound.co.uk/
11-30-2007 Post does not mapped to Knowledge Tree
stevie7V
40 minutes NW of London, England
Posts 8
Joined on 11-25-2007

Post #: 87
Post ID: 5982
Reply to: 5981
Don't forget NXT
"honeycomb panel" and "exciter motors" (this from the 6moons audio review) these are certainly NXT panels combined with moving coil loudspeakers.



defy convention - make music
11-30-2007 Post does not mapped to Knowledge Tree
Winnie
Herts UK
Posts 10
Joined on 12-01-2007

Post #: 88
Post ID: 5983
Reply to: 5982
Dont think so
 stevie7V wrote:
"honeycomb panel" and "exciter motors" (this from the 6moons audio review) these are certainly NXT panels combined with moving coil loudspeakers.


I am no expert, but I think the main difference between this and NXT speakers is that the flat panels of the NXT speakers are supported over their entire perimeter. The Podium Sound Panels are much more sophisticated (expensive) and are attached only centrally to the voice coils save for about 4 tiny sound bridges at the perimeter that keep it tuned. 
11-30-2007 Post does not mapped to Knowledge Tree
stevie7V
40 minutes NW of London, England
Posts 8
Joined on 11-25-2007

Post #: 89
Post ID: 5984
Reply to: 5983
Well, you may be right but...
The method of supporting an NXT panel is not relevant.  The principle of using one or more exciters to vibrate one or more panels is what makes an NXT.  The location, support, damping-panels, whatever are designed to give the required frequency response and dispersion characteristics but if you make a sound by exciting a panel you need a licence from the NXT people.  I'm sure Shelley's loudspeaker is both sophisticated and good value, even if it's expensive but I'd be surprised if it wasn't based on a combination of NXT and moving coil loudspeakers and covered by his own 'Layered Sound' patents.  Further, as Shelley is also a very accomplished classical pianist, I'd expect his system to sound very realistic as well.


defy convention - make music
11-30-2007 Post does not mapped to Knowledge Tree
drdna
San Francisco, California
Posts 498
Joined on 10-29-2005

Post #: 90
Post ID: 5985
Reply to: 5984
NXT: a Musician's speaker?
 stevie7V wrote:
Further, as Shelley is also a very accomplished classical pianist, I'd expect his system to sound very realistic as well.
  There have been a lot of discussions about this before, but one must always take this sort of logic with a grain of salt.  Musicians are trained to hear certain things in music and simply hear differently than non-musicians.  A speaker designed by a musician is likely to reflect these idiosyncrasies.  It may accomplish the goals that a musician wants to achieve when listening to playback, but this is not necessarily the same as what many of us seek here -- the expression of the Sound.
11-30-2007 Post does not mapped to Knowledge Tree
el`Ol
Posts 225
Joined on 10-13-2007

Post #: 91
Post ID: 5986
Reply to: 5985
NXT basics
The discussion is becoming very OT,
but there are some things I don´t understand:
What causes the chaotic behaviour? The cuts at the edge?
Is there really no lobing with driver spacing so high?
How can it be that there is no null at the side of the panel?
11-30-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,535
Joined on 05-28-2004

Post #: 92
Post ID: 5987
Reply to: 5985
Musicians and “Resonating Oops”

 drdna wrote:
There have been a lot of discussions about this before, but one must always take this sort of logic with a grain of salt.  Musicians are trained to hear certain things in music and simply hear differently than non-musicians.  A speaker designed by a musician is likely to reflect these idiosyncrasies.  It may accomplish the goals that a musician wants to achieve when listening to playback, but this is not necessarily the same as what many of us seek here -- the expression of the Sound.
Although I am on the same side of the sentiment as you are I still feel that in context of the “Resonating Oops” the musician’s judgment might be very useful. Musicians while they play they experience tactile sensations. The mechanical feedback of piano, the resistive tensions of strings, the vibrations propagated via the body of decks, the resonating air that stresses body of wind instruments… thousands other sensations that for practicing musicians become unavoidable experience of “sound”.  That is why I do like to play my playback for musicians – I less care what they this about audio and sound but I do very much interested what they feel about their tactile sensations while they listen audio. Particularly it is very curios from perspective of “Resonating Oops” …

The Cat


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
12-01-2007 Post does not mapped to Knowledge Tree
Winnie
Herts UK
Posts 10
Joined on 12-01-2007

Post #: 93
Post ID: 5988
Reply to: 5987
Quality Resonating Oops
Firstly let me say that I believe musicians could be just about the most important people to judge the quality of Hi Fi. They know how the music sounds during creation so can best judge if that quality has been preserved (less destroyed) at playback. BTW Shelley also has a PHD in 'acoustics' 

The Podium Sound speakers contain masses of what I believe you are calling Resonating Oops. They preserve and encourage interaction with the room like a live performance. They stand alone as excellent speakers (back of the theatre) and are the perfect blend in layered sound for the directivity of horns (front of the theatre in my system).

On first hearing I fell in love with the sound of the Podium .5. They are almost diametrically opposed to my horns, but this is the first time in 2 decades that speaker presentation has stopped me in my tracks.  I have a new pair for collection next week.
12-01-2007 Post does not mapped to Knowledge Tree
Winnie
Herts UK
Posts 10
Joined on 12-01-2007

Post #: 94
Post ID: 5989
Reply to: 5988
Clarity
I was thinking (as a new boy in this forum) that you guys may be suspicious of my motives for extolling the virtues of Podium Speakers. I have no connection with Podium Sound other than purchasing a pair of their speakers. I found this forum when searching for additional info on Layered Sound and am intrigued by a possible connection with Resonating Oops.
12-01-2007 Post does not mapped to Knowledge Tree
guy sergeant
United Kingdom
Posts 258
Joined on 08-03-2004

Post #: 95
Post ID: 5990
Reply to: 5989
Podium Sound
I have listened to these loudspeakers at 3 different HiFi shows. To me they produce what seems to be an uncontrolled mass of woody & papery sounding resonances. However, I haven't heard them being played in conjunction with a more normal sounding pair of loudspeakers so can't comment on what effect they might have then. Used on their own, I don't think they are suitable for listening to music as they impart far too much of their own character on the sound heard.
12-01-2007 Post does not mapped to Knowledge Tree
Winnie
Herts UK
Posts 10
Joined on 12-01-2007

Post #: 96
Post ID: 5991
Reply to: 5990
Hi Guy
 guy sergeant wrote:
I have listened to these loudspeakers at 3 different HiFi shows. To me they produce what seems to be an uncontrolled mass of woody & papery sounding resonances. However, I haven't heard them being played in conjunction with a more normal sounding pair of loudspeakers so can't comment on what effect they might have then. Used on their own, I don't think they are suitable for listening to music as they impart far too much of their own character on the sound heard.


Hello Guy

Our paths did cross many many years ago in Brighton at what I think was called Definitive Audio, and I respect your opinion. I have yet to find any speaker that does not impart some of its own character on the music. These speakers are undergoing improvement right up till last week.

For me the selling features include an absence of boxiness, fast dynamics but most importantly in this context the ability to play music like a musical instrument - sympathetic coupling to the room, rather than fighting it. Very different from anything I have heard before and likely to polarise opinion. As the vendors say it takes just a few minutes to know if you love or hate the sound. I love it, (not enough to replace my horns!) but in the context of layered sound it could be a leap forward similar to that I experienced when I discovered horns and valves.  
12-01-2007 Post does not mapped to Knowledge Tree
drdna
San Francisco, California
Posts 498
Joined on 10-29-2005

Post #: 97
Post ID: 5993
Reply to: 5988
Musicians, Judging Playback, & the value of Resonating Speakers
 Winnie wrote:
Firstly let me say that I believe musicians could be just about the most important people to judge the quality of Hi Fi. They know how the music sounds during creation so can best judge if that quality has been preserved (less destroyed) at playback.
I think you have to actually be involved with music performance and production to know what I mean.  A large part of what musicians listen for are cues to guide their performance, not necessarily accuracy, emotion, etc.  Whenever I heard musicians' comments on playback, I am always struck by how alien the comments seem to how I was listening.  And I am around a lot of musicians.

As to being there at the creation, unlike the audience, often you can't even hear what's going on when you are playing.  That's why you need monitors or earphones, etc.  If you don't have those, hilarity may result:

http://www.youtube.com/watch?v=Wffwg7pA0t8

where this poor amateur musician could obviously not hear she was out of tune with her backup band.

 Winnie wrote:
The Podium Sound speakers contain masses of what I believe you are calling Resonating Oops. They preserve and encourage interaction with the room like a live performance...On first hearing I fell in love with the sound of the Podium .5. They are almost diametrically opposed to my horns, but this is the first time in 2 decades that speaker presentation has stopped me in my tracks.  I have a new pair for collection next week.


While I think a resonating speaker can add its own musicality to a reproduction, it is clearly adding harmonic distortion, etc.  It may be pleasant, but you run the risk of needing differently tuned speakers for each type of music, maybe?  I am always cautious about "love at first listen" since usually it is just a novel type of distortion my ear hasn't been accustomed to yet.  This is how most audiophiles end up running from one new product to the next.
12-02-2007 Post does not mapped to Knowledge Tree
Antonio J.
Madrid, Spain
Posts 272
Joined on 08-16-2004

Post #: 98
Post ID: 5994
Reply to: 5993
Love at first listen
 drdna wrote:
While I think a resonating speaker can add its own musicality to a reproduction, it is clearly adding harmonic distortion, etc.  It may be pleasant, but you run the risk of needing differently tuned speakers for each type of music, maybe?  I am always cautious about "love at first listen" since usually it is just a novel type of distortion my ear hasn't been accustomed to yet.  This is how most audiophiles end up running from one new product to the next.


Very true. That's why I agree with Romy that to avoid going nuts trading components, one should know first what's wrong with his current set-up and must have clear objectives -about the music, the sound, the sounds, depending on personal evaluation status- which the new component should meet.
The "problem" with this approach is that most of us don't have the skills, nor the experience, to know what's wrong and even less to recognise a component that gives exactly what we need, without compromising other performance features. Then we're "sold" to be impressed for anything sounding just different. Moreover not all of us listen to the same kind of complex and exigent music all the time. What is the only acceptable result for one, could be an overkilling act for others, or even something that has more inconvenients than advantages.
 
IMHO the "injection for oops" is the result of a very fine-tuned judgement to achieve very specific objectives. I believe that in Romy's case he knows why, what for and how, but without his kind of background and goals, most of us would add only pleasant colorations that would result annoying after some time. I wish I could visit Romy and hear why his injection channel is necessary or just preferrable into his system. I think that only when exposed to "right" -understood as closer to own's perception of perfection- reproduction is when we learn really our own way to go. People who has a criterion can try to get his objective mostly as a trial-error process, but if you don't have an ideal, or don't have the resources for that -usually expensive and time consuming- trial and error process, finding a good result is more a matter of good luck than an elaborated outcome.
I wonder if those NXT drivers just sound different and hence their appeal at first or short term use. The sort of "wonderful sound" that you perceive when first exposed to planars, before realising about their shortcomings. Or if they really are a "new recipe for satisfaction". Who knows.

rgrds.
12-02-2007 Post does not mapped to Knowledge Tree
stevie7V
40 minutes NW of London, England
Posts 8
Joined on 11-25-2007

Post #: 99
Post ID: 5995
Reply to: 5994
The NXT panels are a few dB down
drdna wrote:
While I think a resonating speaker can add its own musicality to a reproduction, it is clearly adding harmonic distortion, etc.  It may be pleasant, but you run the risk of needing differently tuned speakers for each type of music, maybe?  I am always cautious about "love at first listen" since usually it is just a novel type of distortion my ear hasn't been accustomed to yet.  This is how most audiophiles end up running from one new product to the next
NXT panels are inferior to good moving coil loudspeakers and, I suspect, always will be.  However, my understanding is that in this particular application, the NXT drivers are a few dB down compared with  the conventional speakers.  Therefore the effect on the 'directly radiated sound' is small, although the very different dispersion characteristics of NXT mean that the effects on the 'ambience' of the system is greater.  If the combined system is designed correctly, you shouldn't be able to hear any extra harmonic distortion.


defy convention - make music
12-02-2007 Post does not mapped to Knowledge Tree
Romy the Cat


Boston, MA
Posts 9,535
Joined on 05-28-2004

Post #: 100
Post ID: 5996
Reply to: 5994
I had a dream: The Black Box.
From the above-linked 6moons’ site:  Publisher's comment:

Layered Sound as demonstrated at Marja & Henk's during my short visit consisted of running their Avantgarde Duos and the Model Ones simultaneously, the former inside at dominant volume, the latter outside as fill-in ambience providers. Varying the relative volumes of course shifted the percentages of point-source and omni-polar, direct and reflected sound. Muting the panels completely collapsed the sound by comparison to having them fill it in. The sound was unquestionably superior with the added panels. It made traditional two-speaker stereo obsolete by comparison.


I would agree with this sentiments – from what I know now and from what I experimented I would hardly found straight two-speaker stereo as interesting enough. From where I am staying Injection is not debatable. What dubious is - the methods of Injections. The large panels of Layered Sound has own advantaged and own disadvantages. I was considering in past to use another Red injection channel (driven form the same amp) and located at floor to contra-balance vertical image shift in my case. In case is listening is done not in extreme nearfield it would not be necessary.

From surface it looks like an Injection is just a forced substitute for our disability to have regular channels/drivers with right TTH characteristics (Tone, Transient, and Harmonics) where all necessary Injection benefits are included. However, recently I began to look at the things differently as I feel a need to moderate BETWEEN the elements of TTH as there are numerous external condition. Sure it would be great to have that ability to do it in the SAME driver but I do not know how it might be done properly. I can envision a Black Box through which a driver is connected with 3 knobs: Tone, Transient, and Harmonics. All that is necessary to figure out is how that Black Box will be working… :-)

The caT


"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
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   Target    Threads for related reading   Most recent post in related threads   Forum  Replies   Views   Started 
  »  New  The elusive “absolute tone”...  Breeze......  Playback Listening  Forum     24  154749  07-28-2005
  »  New  The “Primary Frequencies”...  Melody range and the other octaves...  Audio For Dummies ™  Forum     5  49687  09-08-2005
  »  New  Don't position speakers but create Sound in room...  Listener position...  Audio For Dummies ™  Forum     1  28711  06-19-2006
  »  New  Great Cello Concertos..  János Starker passed away...  Musical Discussions  Forum     21  138562  07-04-2006
  »  New  SPUnisation of Macondo: how to catch own testicals...  Who? (shades of the old "musical" vs. "a...  Horn-Loaded Speakers Forum     1  21479  02-01-2007
  »  New  Tannoy Red 1960s: some sober reality..  The Summer Monitors?...  Audio Discussions  Forum     10  108947  02-15-2007
  »  New  The inflatable speakers dumping and no only...  Labyrinth?...  Audio Discussions  Forum     8  48192  05-30-2007
  »  New  Macondo's Axioms: Horn-loaded acoustic systems..  No wonder...  Horn-Loaded Speakers Forum     72  399673  07-29-2007
  »  New  Attention Sound Engineers (compression and loudness)..  Injection channel and Romy's rules...  Playback Listening  Forum     48  218498  09-09-2007
  »  New  The Macondo’s Upper Bass Channel: what is next?..  Görlich again...  Horn-Loaded Speakers Forum     30  193771  10-28-2007
  »  New  Wilson Audio and the Moore's law..  Sneak peak of modesty...  Audio News Forum     19  53506  04-26-2009
  »  New  Other Ways of getting Special Tone from a loudspeaker...  Paul S....  Horn-Loaded Speakers Forum     8  58011  11-27-2009
  »  New  How to play Bruckner Sound in Audio...  Being a pedagogical geniuses…...  Playback Listening  Forum     16  67372  06-15-2010
  »  New  An educational Eugenie’s installation...  Some more......  Horn-Loaded Speakers Forum     15  55518  07-15-2010
  »  New  Superbly interesting effect: Suspended decoupled floor ..  Superbly interesting effect: Suspended decoupled floor ...  Playback Listening  Forum     0  12287  10-08-2010
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