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In the Forum: Horn-Loaded Speakers
In the Thread: How to USE “Resonating Oops” in loudspeakers
Post Subject: The compromise of stereoPosted by drdna on: 12/2/2007
 Romy the Cat wrote:
 Winnie wrote:
For me the key is not in adding measured amounts of distortion …. but in the blending of point source and omni directional sound.
I personally see it as meaningless objective. The point-source, line-source, omni-source, dipoles… etc… they are not the objectives but juts means. If they all done properly then they all might sound corrects. Still, I feel that “correct” objectives have sonic nature not the “language of sound” nature… Anyhow, I also feel that you will have a LOT of difficulty to mix horn with large panes as you will have a LOT of problems with time-aligning them.


Yes, exactly.  Stereo is by its nature a very limited method.  We optimize stereo reproduction by working to maximize the strengths and minimize the weaknesses inherent in the basic differences between how stereo works and how an actual musical event exists. 

As I mentioned above, I would disagree somewhat about omnidirectional and unidirectional radiation balance being a meaningless objective.  I think it is worthy to explore but very different from other parameters we look at; it is not just another way of doing an injection channel.  Also, it compounds the complexities of a system, which is often undesirable.  While I think it has a lot of potential, I worry that the added complexity may lead to new problems that may outweigh the benefits derived, even if it is done very carefully, one of which is time alignment as pointed out.

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