Rerurn to Romy the Cat's Site

As usually I tend to see a generalization and patters. The very same is the case of that Brazilian installation with those Japanese hors. However, I would like to take it even further then just the very questionable design decisions in that upperbass horn. What I would like to point out that the educational values of the “questionable design decisions” in this given case were completely devaluated by the owner of the system and the owner’s reference points. Let me to explain, however, before the explanations I need to make another remark in order do not be attacked by the never-sleeping fools who case about the ethnics-of-others more then about own ethnic.

It always puzzled me how fools recognize a constrictive criticism about somebody playback or somebody reference points as a personal attack on somebody.  I have written about is many times and always suggested that a person’s hyper-sensitivity to audio critique as a clear indicator of audio-Moronity. I do not want to go over it here, so read the thread:

http://www.GoodSoundClub.com/TreeItem.aspx?PostID=2546

Returning back to the explanations.

Well, I do not think thatBrazilian guy relay knows what is doing on with his horn and I completely discard his comments bout the sound of his installation.. From my point of view the direction he goes is absolutely faulty (I intentionally did no name him he started some kind of audio company). What this guy does, and the direction from which he approaches speakers is absolutely opposite (from my point of view) to the one that brings success in Sound.  The Brazilian guy feel that sound should be shaped by after-fact conditioning and I religiously against this approach.

So, the mistakes that were made in this installation are purely the responsibly of its Japanese designer but why the owner of this system can not realize that his installation underperforms (and I’m saying without listening the system)? Because the audio methods that Brazilian guy uses as his “tools” and his coordinate systems are very restricted in context of Respect to Sound. His coordinate system only deals with the Algorithmically Reflections of Sound instead the Sound itself.

Yes, 20 years ago the Yamaha DX7 was perfectly capable to imitate the sound of whole symphonic orchestra, so what? The quality of that imitation was very good only in context of digital syntezators progress but for any peoples who are familiar with the nature of real Sound it was not serious. So, how a person who does not recognize the notion of driver-centricity in acoustic systems can be a tool for people to lean how his J-horn might sound?  How valuable would be a position of  person who essentially uses sound of drivers and horns with no more respect then a micro-voltage generated inside of that Yamaha DX7 keyboard?

Sure it is very said that a person who spent a lot of money and efforts for this J-horns can’t contribute to the mass of composite knowledge about hors generally. But what make him different from most of others audio-yahoos? Sure, people would look at the pictures of the 8-bit driven horns with out of phase transducers above and feel that that was how horns should be. Nothing could be further from truth and the blindness (or with of blindness) of the peoples similar to the Brazilian guy make the global knowledge about horns so primitive.

As Michael Corleone said: “It's not personal. . . It's strictly business"…

Rerurn to Romy the Cat's Site