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In the Forum: Playback Listening
In the Thread: Basic guide to advanced audio
Post Subject: Reading for awakened sleepersPosted by haralanov on: 8/2/2011
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 Romy the Cat wrote:
It is quite banal things and those infomercials of Vengerov educating in front of camera the sentimental girls how do not play overly arousing of overly patriotic have become the annoying stamp of his marketing of himself.  Look for Menuhis teaching his master classed how do not play Paganini overly “heroic” and listen him to play Paganini’s concertos – you will hardly will enable to tolerate his attitude.

Your response is a very good illustration of how you redirect attention away from the actual discussing subject and point it to a completely different direction that has absolutely no relation to that subject. You asked me what I mean by saying “horny” and I just gave you an example – nothing more, nothing less. The video link is not there to illustrate what Vengerov or Menuhin do, but to show you how I feel the horns sound like (!) – they always push the sound with unnecessary force.
 Romy the Cat wrote:
Sorry to disappoint you but you are absolutely wrong about it.

Ha, you cannot imagine how difficult it is for me to get disappointed :-))
 Romy the Cat wrote:
One of the definitions of compression driver is that the driver is designed to deal with throat reactance and can't work without it properly.

That’s why I am interested only in drivers which don’t need any throat reactance in order to work properly. But I will trash my drivers and replace them with compression ones in the moment when somebody demonstrates me really worthy horn loaded drivers. I do not belong to the group of people who are slaves to a given speaker topology and I can instantaneously change my concepts IF there is something that is going to provide better results in terms of sound.
 Romy the Cat wrote:
The throat reactance is NOT a reflection but permanent force that participates in balancing of diaphragm damping.

Yes, yes, I know… :
reflections inside a horn at HF.jpg
 Romy the Cat wrote:
The HF propagates as light - where do you see light get reflected back from the horn?

This is the third you put words in my mount, words that were never told by me. Where did you read I have written that the sound is reflected back in the horn? I said it is being reflected inside the horn, not back in the horn.

 Jorge wrote:
I would say tone and texture some of the most important aspects of an organic playback. 

Of course you are right, Jorge. But think about how many people have them both in reality. Well, the tone of most compression drivers is at/below kinder garden level. So what could the person X do about that? He buys/borrows different compression drivers in order to hear which one of them has the “best” (by saying the “best” mean the “least compromised”) tone. After listening to many different drivers, he decides that Vitavox S2 is the “best” one among them. Then he makes a horn for that S2 driver. He likes the sound of that combo very much, but he still feels there is tone deficiency. So what does he do next? – he invents the Injection channels! Let see what his requirements are: “for injection channels you need overly saturated by coloration drivers”. He injects some additional colors in the sound and now he feels he has better and more “interesting” tone. OK, by doing this, he really have more interesting tone, but let analyze his sounds results. He decides to play his favorite violin concerto. The violinist performing this concerto has decided to invest $ 1 000 000 in his violin, because he feels this particular violin has some special colors in its sound that no other violin has.  Now the owner of the injected S2s listen to this concerto, but is he able to hear the real colors of that violin, despite he feels his system has super tonal complexity? The answer is NO. I will tell you why. It is because the sound is now polluted by the algorithm that makes the injection channel to be saturated by colorations. That algorithm affects the sound always in the same way, because the injection channel does not have own intelligence to decide how to color the sound of the different instruments. It colors their sound with the same intentions every single time and that is the real problem. The sound of every note has the taste of that channel. I really hate to give that example, but here it is again – it is the same as adding salt to everything you eat. Well, how do you find the taste of salted bananas? So we have a situation where the colored injection coming from this channel is not able to reveal the original overtone structure of that $1 000 000 violin, because it inserts harmonics that have nothing to do with the harmonics created by this violin when listened live. Yes, somebody should say that reproduced sound (not Music!) has nothing to do with the original live performed sound, but then this person has very specific sound in his room. This specific sound is not true to the original, because his system is not able to mimic the original sound, despite he consider it has ultra high level of absolute tone complexity. Well, the reality is just the opposite – the system should not have any single mechanism that distorts the sound in any way in order to reveal the true complexity of the original tone recorded on his CDs/vinyls/tapes. If the system is not able to do this, there is a high possibility the reproduced sound of an Amati violin to sound like a cheap plastic-lacquered Chinese made violin.

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