el`Ol wrote:

Romy, What happens when you use the injection channel with inverted polarity?

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.

guy sergeant wrote:

Are this company thinking along the same 'Oops' lines? http://www.layeredsound.com/index.html

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.

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".

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".

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.

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.

stevie7V wrote:

"honeycomb panel" and "exciter motors" (this from the 6moons audio review) these are certainly NXT panels combined with moving coil loudspeakers.

stevie7V wrote:

Further, as Shelley is also a very accomplished classical pianist, I'd expect his system to sound very realistic as well.

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.

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.

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.

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.

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.

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