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BETTER SOUND THROUGH SCIENCE! (Read 12843 times)
RFZ_Quest
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BETTER SOUND THROUGH SCIENCE!
01/25/08 at 04:47:19
 
I still have not precisely dialed in the ideal zone for this set of speakers, but I am within near range. My focus is to extend, yet stabilize the low frequency roll-off over what is currently being produced. I experienced this same problem with the single driver models during the first few attempts at set up within the room.

Eventually, through very small incremental changes to positioning, I finally honed the response to within an optimal balance by leveling out the pronounced peaks and dips at the lower end of the spectrum.  The audible verification of this was quite apparent and substantial. The proof is confirmed on the Real Time Analyzer.

These models are very sensitive to positional change for which performance is affected substantially. Once you take the time to tune them in sync with the room’s acoustical properties, the true potential unveils itself in a favorable manner.  

The primary objective is to maintain accuracy through simplicity as the basis for reaching the ultimate pinnacle in sound. This for which speed *(clarity, definition & focus of detail) plays such a prominent part of any musical foundation for  which confirmation of accuracy is gained within sound reproduction.

Linear progression (tonal balance) absent of deviation to any marked degree within the music’s timbre, will most assuredly reinforce the foundation of musical truth, greater  than any other ‘brick’ in the path to success.

While a level of zero deviation is extremely difficult (if not impossible) to acquire in terms of absolutes, the reality of  linear gain through progression of conformity is not.  The result of uniform stability thru balance, transforms into the desirable ‘flatness’ aspect of the musical spectrum. This in turn leads to a foundation of  unwavering audio integrity with minimal to zero deflection.  

The final solution is imminent for which the listener integrates for resolve within the pinnacle of musical truth. The possibilities no longer lay dormant as a ‘dream-within-a -dream’.  For now the hall of mirrors come crashing down as reality takes a new course.

Frequency balance is an automatic correlation to the revelation of what three dimensional imaging is really all about. Many people falsely believe that full comprehension of this concept is of full disclosure to them, when in reality, only a ‘sliver’ of it’s true potential has ever been revealed, far short of full bloom. Everything has to be within perfect synergy for this level to unravel. This means that every variable in the matrix is congruent to the outcome. Any failure within  the infrastructure will result in a collapse of it‘s full perception.

I  have produced some very interesting results that are illusionary by nature, however extracted from the actual elements within the music’s complex structure. The powerful tool used to flush out the exposure of this extended three dimensional presence is done through the manipulation of ‘filtering effects’ rendered through the principal of ‘Binaural- Localization’ for which isolation barriers are used to propagate sound fields in precise fashion for a disclosure of holographic effects inherently omnipresent once the proper elements are within critical alignment to unveil it‘s form.

http://lcavwww.epfl.ch/research/past_topics/source_separation.html

BETTER SOUND THROUGH SCIENCE!


I could expose you to surreal effects which I am sure will have a profound effect upon your senses. If you have ever witnessed three dimensional (visual) holograms projected in space as a 1:1 floating simulation of the actual model for which it is projected from, you would know that these appear to be apparitions of realistic physical dimensions which are highly detailed, yet highly translucent in form. The message is visible, although completely phantom in it’s projected form for which remains tangible only to the minds comprehension.

This same degree of audible detection can and will be unveiled  with great distinction once the barriers have been removed to expose acknowledgement of it’s presence.

If the musical spectrum were to be produced in real time, adhering to an absolutely flat frequency balance throughout, along with the total absence of crosstalk within the presentation, a transformation would naturally occur. The resulting exposure for which this advanced degree of phantom imagery  unravels, is like crossing over into another dimension. Dimensional cues naturally begin to fall into place with accurate positioning relative to the original coordinates they emulate.

Currently there are software programs written around complex algorithms for which to reveal these effects within recorded music. This is not anything like the current surround sound concepts, as this is much more complex and truer to form when compared to natural cues within a ‘real-time’ atmosphere.

The effect is projected from the recorded information directly  which can be conveyed through a stereo set of speakers. The dimensional cues around the room are phantom. However, your mind is fooled into the fixation of physical speakers around your position for which each appear to present  discreet information.


.............continued..........
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« Last Edit: 01/25/08 at 15:29:25 by Steve Deckert »  
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RFZ_Quest
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Re: Custom MKII version: HDT Build Images
Reply #1 - 01/25/08 at 05:14:41
 
If you have ever experienced a quality recording produced with ‘Q-Sound’ spatial effects played back on a properly set up system, this will give you a strong correlation as to what these special algorithms are designed to reveal in the mastering process.

My future interest is toward the progression of advanced techniques relating to the concept of  ‘binaural-localization’. My experience with this concept has enlightened me to how complex the level of sound dimensional cues actually are within the musical form.

I clearly desire the spatial qualities of the Q-Sound recordings in each and every one of my standard  recordings.  It is so much more realistic than the restricted field of range associated with traditional playback systems.

My focus is to experiment with interface methods for which to reinforce this concept. The general methods which incorporate this concept are introduced  through the use of processor encoding  within the actual recording sessions. My objective is to duplicate this degree of refinement through direct integration of  the basis for this concept.

If you understand the technical relationship of the soundboard within a grand piano, and its significant relevance for assuring  accurate tonal structure, generated by it’s direct influence, you can relate to what I am getting at.

The thing is, I know what eludes me, just as I know exactly what I seek in the final form. Once I have established this degree of complexity, I shall have succeeded in my quest for perfect sound presentation within closed boundaries.

The objective is to transform the surrounding elements like that of  the piano’s ‘soundboard’  for which the room’s interaction in itself becomes the ‘transducer’ of  natural  projection.

‘Crosstalk-Cancellation’ is the pivotal aspect for which this concept is based upon. Do yourself a favor and embrace this concept if you desire advancement into the more refined qualities of  sound reinforcement.


http://www.ambiophonics.org/images/NewFig1.GIF
Comparison of live concert hall listening geometry with home stereophonic listening practice showing the additional unwanted crosstalk sound rays impinging on the pinna from too large an angle, thereby, causing unrealistic playback artifacts.

http://www.ambiophonics.org/images/Fiugre2redone.GIF
Images in stereophonic systems are restricted to the arc between the speakers because both ears are hearing the same loudspeaker.

http://www.ambiophonics.org/images/NewFig3.gif
Image in Ambiophonic system matches recording perspective because a signal reaching just one ear sounds as though it is coming from the side.

http://www.ambiophonics.org/images/NewFig4.Gif
Ambiophonic main front channel listening arrangement eliminating crosstalk and mimicking microphone view

http://www.ambiophonics.org/images/NewFig5.gif
Ideal Ambiophonics recording/reproduction chain.
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RFZ_Quest
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Re: Custom MKII version: HDT Build Images
Reply #2 - 01/25/08 at 05:24:18
 
What is Ambiophonics?

"The Ambiophonics method combines an exploitation of seldom applied, but well documented, psychoacoustic principles with the basic rules of good musical performance space design to create believable concert-hall sound fields in dedicated home listening rooms. Ambiophonics moves the listener into the same space as the performers, by accommodating to individual external ear and head characteristics, minimizing interaural correlation at the listening positions, abandoning the traditional stereo loudspeaker equilateral triangle, recreating early reflections and reverberant fields via computer, eliminating front-loudspeaker crosstalk, and reducing the home music theater wideband reverberation time to less than .2 seconds. The completion and testing of the first full-scale version of the Ambiophonics Home Concert Hall has demonstrated that the Ambiophonic sound reproducing technique is a worthy successor to both stereophonic or surround-sound listening configurations, for staged music, in that it can consistently generate a "You Are There" concert, opera or pop sound field even preferably from standard LPs, DVDs or CDs that the ear-brain system will accept as real. "

For a great read on this technology, read the following PDF file with the enclosed white paper. It contains a very interesting in-depth presentation of the concept. If you are a fan of electrostatic speakers, this should catch your fancy.


http://www.ambiophonics.org/papers/RG-Improving_TonSym0510.pdf
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RFZ_Quest
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Re: Custom MKII version: HDT Build Images
Reply #3 - 01/25/08 at 05:34:05
 
An excerpt *(Must Read Link) from the writings found at the Ambiophonics site:

“Since most of us are quite familiar with what live music in an auditorium sounds like, we soon realize that something is missing in our stereo systems. What is missing is soundfield completeness and psychoacoustic consistency. One can only achieve realism if all of the ear's hearing mechanisms are simultaneously satisfied without contradictions. If we assume that we know exactly how the ears work, then we could conceivably come up with a sound recording and reproduction system that would be quite realistic. But if we take the position that we don't know all the ear's characteristics or more significantly that we don't know how much they vary from one individual to another or that we don't know the relative importance of the hearing mechanisms we do know about, then the only thing we can do, until a greater understanding dawns, is what Manfred Schroeder suggested over a quarter of a century ago, and deliver to the remote ears an exact replica of what those same ears would have heard if present where and when the sound was originally generated. The old saw that, since we only have two ears, we only need two channels in reproduction has been justly disparaged. I would rephrase this hazy axiom to read, that since humans have only two ear canals, to achieve realism in reproduction, we need only provide the same sound pressure at the entrance to a particular listener's ear canal, even in the presence of head movement, that this same listener would have experienced at his ear canals had he himself been present at the recording session. Fortunately, it does turn out that only two recorded channels are in fact needed for realistic music reproduction (more are actually detrimental) and it is the purpose of this book to show why this is so and how to do it.”

“This axiom requires that all reproduced, higher frequency direct or ambient sound come from as close to the correct direction as possible so as to reach the ear canal over a path that traverses the normal pinna structures and head parts. Thus home reproduced hall reverberation should reach the ears from many sideward and rearward locations and the early reflections from a variety of appropriate front, side and rear directions. This is why just the two rear surround speakers of 5.1 can never provide psycho acoustically satisfying hall ambience. Likewise central sound sources should come from straight ahead rather than from two speakers spanning 60 degrees. (A center speaker is no help in this regard as we will show below). Another precept that must be kept in mind is that your pinnae are unique like fingerprints. Using somebody else's pinna or pinna response, unless you get desperate, is not a good audiophile practice. A case in point is the use of dummy head microphones with pinnae. If the sound is reproduced by loudspeakers then all the sounds pass by two pinnae one of which is not even yours, and the result is strange and often in your head. If you listen, using normal pinna compressing earphones, then you are listening with someone else's pinnae and there is no proper directional component at higher frequencies. The usual result is that the sound seems to be inside your head. If the dummy head doesn't have molded pinnae, and you listen with earphones, there are no pinnae at all and the sound again seems to be inside your head or strange. You can't fool Mother Nature. “


The main site is located at:
http://www.ambiophonics.org/

There is a great deal to be learned from this concept. I have experienced this concept in limited fashion. It was enough to prove its significance  in relation to the recreation of realistic spatial qualities. The difference it extends beyond normal stereophonic principles is absolutely astonishing with a purity of transformation that frees your  cerebral perception from the binding confusion which exists  within  current stereophonic presentation. The depth of underlying focus  emerges to establish it’s inherent bond within your natural senses the way nature intended it to be.


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RFZ_Quest
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Re: Custom MKII version: HDT Build Images
Reply #4 - 01/25/08 at 05:46:35
 
A basic form of this concept was first introduced many years ago with the introduction of Quadraphonic sound which never took flight in the mainstream of general acceptance due to the undermining  influence of failed marketing persuasion.   A live concert enveloped within the structured basis of Quadraphonic sound is far more involving than a concert venue reinforced by a mere wall of amplified speakers in a two dimensional approach.

The advancement of Q-Sound technology in more recent years is a far more sophisticated approach utilized at the studio level. You don’t need specialized equipment to enjoy it’s effect as the enhanced dimensional cues maintain the intended coordinates around the listening position through phantom sounds embedded within the studio recording. The illusion provides the same experience as that of the quadraphonic system but without the extra equipment.


The path of my direction is far more complex than what merely goes into a set of speakers or the supporting equipment within the chain. It also goes beyond the basic foundation for which room acoustics are predicated upon. It is the hidden link which binds these elements together in absolute congruity as one flawless element in presentation as known in nature.


This is the apex of my goal. I am intrigued by the complexities for which distances the fruition of this concept, as merely the ‘dream-within-the-dream’ syndrome of current sound reproduction. The path beckons us to engage within that virtual ‘dream-state’ to experience what lay waiting within! The method for extraction is unorthodox by the  standards traditionally employed. The results of what may arise from this concept is priceless, for which will turn the audio world on its ear!! To experience is to understand. To understand is to experience.

This transition is like that of exposing the true range of  frequency elements through the rainbow effect in the sky, for which bending light through moisture alters what we normally see, into evanescent  divisions of reality for which normally maintains a state of cloaked presence thru the perception of white light.

The elements within music under direct influence of these advanced measures, reveal a complexity for which the listener undergoes a connection of  ethereal experience.

No mind altering chemicals were used during this presentation! The tangible aspect of induced variations in perception is mind bending in itself within its very foundation.

The answer is out there. It remains in waiting for which to be discovered. The question is, will it’s discovery be exploited into eventual fruition, or merely lost in the shuffle, much the same way in which quadraphonic sound came and went?

Only the sands of time will bring future hindsight to this quandary. I for one hope that we do not lose out on this concept.

There is just not much remaining for the true Audiophile in this day and age except for the small group of dedicated people that are just too passionate about musical quality to let it die out anytime soon, with new innovative ideas for which to broaden the appeal even further.


Cool
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Re: BETTER SOUND THROUGH SCIENCE!
Reply #5 - 01/26/09 at 14:28:43
 
Dear Paul,

Christ! I can't believe this! I've been looking for a forum for ambiophonics for 4 months, and it's right here on decware.com, when I've been going through your posts. Finally I can dare to ask a few questions I have held up for months which felt like lifetimes.

For Ambiophonics, how do you treat the room? I assume the walls, left and right, have to be the same. I never used diffusers; my ambiophonic listening room is covered with 10cm rockwool completely, and I use four subwoofers in each corner. Is that correct?
And how can I use a TV for it? The sound barrier is right up my face and once it is lowered it doesn't work.

For music I use ambiophonics only, panambiophonics actually, but I need to know about the concepts of common stereo to proceed with ambiophonics, that's why the other posts and inquiries. Are using ambiophonics? Me personally, I cannot enjoy music with common stereo. Ambiophonics make one addicted to it.

I dare to ask you a personal question, how come you are still using common stereo? Don't ambiophonics just blow you away?


Yours, Sincerely.
Wolfgang
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« Last Edit: 01/26/09 at 14:37:58 by Azul Shiva »  

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Chris K
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Re: BETTER SOUND THROUGH SCIENCE!
Reply #6 - 01/26/09 at 16:04:34
 
"Christ! I can't believe this!"

So you know him too?
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Re: BETTER SOUND THROUGH SCIENCE!
Reply #7 - 01/27/09 at 09:00:09
 
What do you mean? Are you reffering to ambiophonics or to paul?
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RFZ_Quest
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Re: BETTER SOUND THROUGH SCIENCE!
Reply #8 - 01/29/09 at 07:58:44
 
Wolfgang,

I believe that Chris is just offering a bit of sarcasm to your comment concerning J.C. I'm pretty sure that he was not referring to me.

Just ignore that comment as it means nothing but an attempt at humor.

Ambiophonics is of special interest to me. I hope to incorporate all of its advanced techniques into my own environment sometime near in the future. To me, it makes about the most sense when trying to recreate the delicate balance of the audio realm.

As for two channel reproduction: I have just spent a great deal of time assisting through the design and testing phase of a new speaker design of which will prove to be on par with the best of multi channel systems using only the natural stereo perspective.

These speaker designs are truly mind boggling to say the least!

Knowing that these are the only speakers in play, your mind just refuses to believe it. It remains steadfast in your mind while listening that a much more advanced multi channel system is playing throughout the room.

Speaker design such as this will prove vital within the advanced integration of Ambiophonic principals. Forced artificial sound enforcement just does not connect with the mind in the way that good stereo is capable of when conditions are right to produce this in a natural perspective.

I will be introducing these new speakers at dealer locations in my area very soon. As of now, I possess the first pre-production set, as they will be built to spec. The only other set in existence is that of the original prototype which is in the lead designer's listening room.

There are a couple of review sets, which are slated to be evaluated by two separate individuals. One is a professional musician and reviewer. The other is a long time member of this forum with a great deal of experience concerning the radial technology.

We believe that these new designs will secure a turning point in the way that we perceive two-channel audio. This should be confirmed unanimously by those that experience this evolution. It sure has made an impression upon me!

I believe that I could set up a room with proper acoustical control measures, using only two-channel reproduction, in a manner, which your mind simply denies the results as a possibility, even though the experience is very real!

That is what makes this so fun and so gratifying to the senses.

It is not so much of using only one or the other. It has nothing to do with what is superior in form. What is important is the integration of both aspects in a way which each may contribute a combined advancement toward hybrid technology for the best overall experience.

Time will tell with an advanced future in the audio world, so far as this aspect is concerned.

I have secured in my mind, the possibilities of what's to come and what we have to gain from techniques such as what Ambiophonics have to offer. It is impossible to relate the experience gained from this technology without hearing it firsthand, as it is like experiencing a whole new realm of awareness to sound localization, much like that of nature itself. This all starts with the complex way in that this technology extends to the recording stage, all the way through which the recording is processed and preserved for reproduction. Finally, this all exposes it's value within the way that this technology reveals it during the reproduction phase.

The only type of previous technology for which I can even remotely relate to this level of sound comprehension is within a visual perspective. Two great examples of this would be the involving experience which the IMAX film concept plays upon the mind, and that of three dimensional holograms which seem to mirror form and motion in a surreal perspective.

So is it really so common, or merely common only in form?

I have experienced an example of what this technology has to offer; therefore my path remains focused upon exactly where I want to go with this audio venture, and what it will take to get me there. So yes, this technology is very much a solid reference point for which to focus my goal. The best of technology will never replace good quality audio gear. It can become a major influence as to how far the gear’s performance potential will reveal itself in true form.

As I've stated in a previous post, this will all find it's way into the overall picture, as the progression proceeds forward in this look at acoustical design, and what it can do for our perception to sound quality.

Let's start with the implementation of practical projects, which will make the most difference for refinement in general. This regardless of reproduction techniques or that in which they are used.

The point of Ambiophonic principle is that it is far less dependent upon room correction due to its autocorrellation provided through complex software programs and the advanced method of recording which starts at the microphone level. All of this which emulates the natural perspective, as our own sense of localization would reveal in real time without the negative influence of interaural-crosstalk to confuse our perception to what we hear.

Pretty simple, right?

I wished it was that simple. Major gains in technology have brought us very close to realizing this goal, so it is within our grasp. We just have to acknowledge it's qualities and use them to our advantage.

Ambiophonics presents the only solution I've seen to date that can meet this challenge on a realistic level without all of the extreme complications for which mechanical means are necessary to bring a rooms presence into this degree of comprehension.

There will be more on this subject later but I am not ready to focus upon it just yet. At this time, I am quite content with the results obtained by the use of proper audio gear based upon the two-channel concept within a listening environment enhanced to flush out the music’s natural quality.

Transition does not equate to total obsoletion when crossing boundaries of technology.  Was solid state technology the end-all answer to vacuum tubes? Did digital technology reign superior in evolution of sound quality over analog? At best, the answer to these questions becomes quite subjective to say the least.

There will always remain qualities past and present, which can be effectively integrated for superior results. Neither of which necessarily is superior individually, but superior in standard when combined in complementary fashion.

Let's move forward and see where this all goes.

Paul.





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Re: BETTER SOUND THROUGH SCIENCE!
Reply #9 - 02/02/09 at 06:56:53
 
Dear Paul,

I tried contacting ralph glasgal (A developer of ambiophoniocs adn the administrator of ambiophonics.org) about room treatment, but he won't respond. I couldn't find the e-mail adresses of the other three guys, and there's barely anything to read about room treatment on ambiophonics.org nor at audiophilerecordingstrust.org.uk. All I could find out was that there's a diffusor placed where the sound of the speakers would reflect of the wall. I really wonder how we'll manage.


Kindest Regards,
Wolfgang
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Re: BETTER SOUND THROUGH SCIENCE!
Reply #10 - 02/03/09 at 05:35:07
 
This is my quandry also-where to place the room treatment. I can understand the construction although not the science behind it. I guess we just wing it?      mike
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RFZ_Quest
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Re: BETTER SOUND THROUGH SCIENCE!
Reply #11 - 02/03/09 at 20:03:41
 
Guy's,

I think that there is a tendency to put too much thought into the (what ifs?) and (what nots?) concerning the complexity of acoustical implementation.

The critical aspect to be concerned with is that the correct amounts of elements are utilized in proportional fashion.

While one is not likely to create a negative situation by extensive use of diffusion principles, the possibility of using 'over-absorption' within the frequency spectrum is very much a factor.  Absorption factors require regulation with respect to the room's overall balance.

There is no tried-and-true method that is perfect for any individual room treatment scenario.

There are however, basic rules that must be followed if any respectable gains towards optimal results are to be realized.

It does not matter what type of technology, equipment, source, scheme, etc...whatever. The general use of acoustical treatments follows the same guidelines, regardless.

The only real influence which may persuade a moderate change of acoustical placement is within the choice of musical style.

Unfortunately, there is no ideal result, which remains at maximum benefit for all musical styles. This is one area of concern that warrants thought in the preliminary stages of design and consideration.

This is referring to the critical RT60 factor, which determines the overall time-domain within the room.

Reverb is directly responsible for how responsive the 'Attack' & 'Decay' ratios are allowed to be. The manner in which you design and implement the degree of diffusion & absorption coefficients will indeed become the answer to acquiring the optimal solution.

Very short response times are ideal for studio voice-overs, as this allows for very clean and precise perception when interpretation of language becomes paramount. Clap your hands in a room with very short response time, and you will note that the sound is very quick to decay in an audible sense.

This short response time would not be as favorable for the playback of organ music for example, as this would greatly reduce the spatial qualities that recreate the original sense of the source from which it was recorded. A much longer response time is warranted to recreate this sense of perception.

If one were to focus upon chamber music as another example, then one would look to maintain a balance somewhere between these reverberation ratios.

You can find an appropriate balance that is reasonably acceptable for the majority of musical types in general. However, this does present a compromise overall, which means that some sacrifice has to be given in order to cross these barriers with enough grace to render the variables in a pleasing demeanor.

The component of time related ratios within your listening area will determine the exact way in which your set-up will reveal to your listening experience.

You never want to destroy this key factor within the room's balance.

Place extreme consideration upon this component when designing the room. The reduction of reverberation can become detrimental if overdone. This will end up with a room response that sounds dull and non-involving.

Absorption factors are CRITICAL! Not enough and the room is too bright and harsh sounding. Too much and the result is just the extreme opposite.

To sum this up, one might say that the result of our sound perception within a room, equates to that of the 'Time-Domain' which supports that very perception.

Cover all of your angles with reasonable tactics and reasonable gain should be expected.

Paul.

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Re: BETTER SOUND THROUGH SCIENCE!
Reply #12 - 02/09/09 at 19:18:21
 
Dear Paul!

I've got great news; I finally managed to get in contact with Ralph Glasgal. He would be happy to help and to spread the word "Ambiophonics" throughout the internet. He definately will be able to help better than any source online or offline since he is the inventor and developer of the new technology.

I copied parts of his e-mails no to mess things up.

Ambiophonics need basically no room treatment but bass-traps since the Ambiophonic speakers respond to room treatment in the same way that stereophonics does particularly in the bass.
When you use Satellite Surround speakers for concert hall impulse, you don't need to worry about them because their sound reflects of objects the same way like in a concert hall.

Ralph Glasgal recommended two Subwoofers than one and electrostatic speakers (4 of course for panambiophonics) since they are line sources and do not spray sound around the room.  The rear sound is the opposite polarity and so that further limits the intensity of stray room reflections.


I don't know about you, but I'm a fan of using 4 Speakers in a stereo system. I also much preferred to use four of them in ambiophonics.

To convince people from Mono to Stereo it took 23 years. Let Decware have one of the first Audio Forums in the world fully introducing and developing Ambiophonic technology.

If you can, try telling Steve Deckert about them. He ignored me I think.


Do you own a pair of Imperial Horns? If so it would be extremely useful if you would just make a quick test with ambiophonic technology on them and tell everyone how they sound like.


Kindest Regards,
Wolfgang
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Re: BETTER SOUND THROUGH SCIENCE!
Reply #13 - 03/03/09 at 06:30:12
 
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Re: BETTER SOUND THROUGH SCIENCE!
Reply #14 - 03/13/09 at 15:04:11
 
Dear Paul,

I just finished reading your entire article on the top and have to strongly disagree with you saying that Absorbtion is critical in terms of not only too less but also too much. For Ambiophonics a 100% dead room WILL work (good) unlike in a stereophonic system. (That's why too you don't need diffusors) For concert hall impressions or background noise you use satellite speakers. The idea would be that the 2 or 4 or 6 ambiophonics speakers will only play the sound right at you. Any sonic energy heading off into the room from the ambiophonic speakers is not wanted. The satellite speakers are too quiet for absorbtion to have a powerfull effect on them and make things critical.


Sincerely,
Wolfgang
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« Last Edit: 03/13/09 at 15:12:03 by Azul Shiva »  

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