Lots of good ideas and suggestions to work through. It's why I love these forums! So much to think about before you make a decision!. I will say this - the most intriguing idea (and I forget which responder/poster said it) that you can't reproduce what isn't there. Helluva observation! However, I thought that's why Dolby Atmos and Sony 360 were brought to market. Which then made me reconsider what I'm after. Thanks for the good debate!
@polkalover , Sony's 360 reality audio set up in a proper rig is mind blowing! They are the only real competitor (besides Apple, to some degree) with the clout to beat out Dolby, imo (Dolby became a monopoly for a bit after beating out DTS, Auro, etc). Dolby also has to cater to the movies/ tv people. Sony is way more focused on music.
Eitherway, both of them have many incentives and are getting an increasing number of artists (and the mastering apparatus) by the day to work within their respective eco-systems. They are here to stay.
Someone said, "Use a horse to pull your carriage, it was made for that kinda thing"
But, an audiophile said, "No, i will use my dog. But, never fret, he's a super dog! If i give him enough steroids and rub him down with emerald dust, he will beat a horse, pulling that carriage! And if in case, my super dog fell short, it must be the carriage's fault"
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Will anybody be exhibiting the BAACH at The Show in Costa Mesa?
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The quality of the Recording greatly influences its ability to project a good image throughout the room. If only everything else could sound like a Diana Krall album be it a record or on YouTube the quality is astounding.
I wish orchestra recordings could improve the recording quality but some are very nice.
Well powered speakers are very important too.
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Thanks for the topic, polkalover...
It's not yet commonplace for audio folks to have a good handle on the Bacch-SP Theoretical Applied Physics processing. Please do the homework if you are seriously interested in improving your sound. With a limited budget, I opted for the Plug-In version of the BACCH DSP. It has a "one-click on-off tab." It goes unused. And, yes, I am a purist, direct A to B audio guy.
More Peace Pin (bold print for old eyes)
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Listen to lots of live acoustic music. Then try Shahinian Diapasons, Larsens, Ohm Acoustics speakers and any Morrison Audio speakers. I would be very interested in your thoughts.
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Many people would sell their child for Ethos. How’s about being really grateful for what you have rather than trying to chase rainbows. It’s a thought.
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moving to Mac, the Mc611's and c49 took my speakers to another level (or 3) without changing speakers. If you have the freedom to try a different wall, say going from the short to long wall and pull speakers 3-5' from all boundarys also. For the first time I have the cash, but no desire to upgrade.
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Just get the BACCH-SP and keep the speakers you have. It is a total paradigm shift and plays back music how it was intended to be heard.
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Rear fireing driver. Really helps
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@hotei My pleasure. One of the discs is Desmond and Gerry Mulligan. If you have not heard Mulligan's disc "Dragonfly", it's a classic for this topic. The second track called Brother Blues is such a delight for the use of soundstage and imaging. I've used that track many times to demonstrate a recording that lets you hear exactly where every instrument is. Exciting to listen to. IMHO. Cheers.
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Hey bigtwin, thanks for the heads up on the Desmond cd’s. I’m a definite Paul Desmond fan.👍
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Some of you may recall a TV show titled, Mr. Ed. It's a sitcom from the 1960's with a talking horse. Season 5, Episode 1 titled, Hi-Fi Horse, is a great, timeless performance aimed at us audiophiles. It first aired in 1964. I had just flown back from Europe in the 1990's one time, it was 3AM and I was wide awake. I turned on the TV to Nick at Night and found this episode. It has all the classic hifi stereo lines but remember, this was 60 years ago. Wilbur buys his wife a Stereo console for their anniversary. She is less than thrilled at this gift she never wanted. He puts on a sound effects record. Two people are playing ping pong and he says to his wife, "Are you listening to that? It's like they are right here in this room playing ping pong." That does it. She is off to her mother's.
Take a moment to look it up and play it. A lot of fun. And Mr. Ed, the horse gets in on the hifi as well.
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@hotei You're in good company. 🤣 Last night I was listening to the LP Take 10, by Paul Desmond. Actually on CD as part of a FABULOUS 6 CD box set from RCA. The complete RCA records by Desmond as a solo artist. Comes with a 20 page booklet giving total info on every track.
I digress. With only four instruments, the guitar and Sax extended past the edge of the speakers, the Bass was right in the middle and Connie Kay on drums was clearly in the back of the bass by several feet. They could do it back in 1963. Makes you wonder why more recordings don't do it today. Cheers.
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toddalin The "Mermans" cost me about $1,500 to build with used JBL speakers and Great Heils, and new crossover components.
If one (who likes can pop, jazz, rock, etc.) buys your Mermans speakers at under $2k is a great bargain. Your system sounds better than many mega buck speakers and systems. And your have much more potential to for higher quality sounds. Alex/WTA
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I'm with bigtwin on this. One can search for the system that will give you a sound stage that one desires. However, the recording is the golden key that unlocks soundstage. And, not all recordings are equal, as we have discovered. There is lots of garbage out there.
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Yes, I get it at low cost also.
The "Mermans" cost me about $1,500 to build with used JBL speakers and Great Heils, and new crossover components. The Yamaha RX-Z9 cost me $4,050 new in 1993 and now has >30,000 hours on it. The Oppo95 was $300 used. So, under $6K complete.
A gent from AK was over and said that he had just auditioned a six figure system that did not image as well.
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I got the same spatial information from my modified speakers (low cost) ? so ?
😁😊
I get this without the Baach-spacial. Ever listen to Amused to Death? The guy is talking at the far end of the room over my left shoulder.
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I get this without the Baach-spacial. Ever listen to Amused to Death? The guy is talking at the far end of the room over my left shoulder.
In this sequence HAL is behind/overhead.
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counterpoint incoming.
context, I still own ML CLSes (factory repaneled) and some larger maggies are in storage awaiting vacation home setup.... so I enjoy planar/dipole.
I've had good success with B&W and tekton monitors for imaging.
But my current setup trounces anything I've heard before regarding both imaging and soundstage. What changed? how much?
1) I dropped hoping to get the room to bounce my speaker sounds (or omni speakers) and added a lot of GIK diffusion panels on ceiling and side walls (4" thick and 1" offset) and corner traps and run an area rug on top of my wall to wall carpeting.
2) I toe'd in my speakers (not for 3-5' behind my listening position) but right at my face, even less room interactions... and most importantly, the next item took advantage of these 2 mods...
3) I deployed Bacch4mac. It set me back less than 1/3rd of your lower end speaker budget number in the OP.
I happen to have a TV nearby so i keep the mac GUI up to quickly (mouseclick) A/B test the processing effects (you can keep the ORC/room correction engaged for both A/B/C so your EQ and level/gain isn't a factor in the "which sounds better").
Spring for the "Audiophile+" version with the webcam and the in-ear mics, then the software will calibrate viz your head movements during the setup process, so when listening, you're head is not in a vise. also the ORC (eq/room correction) is quite good, I was running some "cut filters" in Roon to deal with 2 room modes, bit it made it "input dependent" so I was shopping for a DSP EQ.. no need now, here anything fed to the babyface appliance (part of the kit) gets processed for both EQ and spacial.
You'll need a mac mini, or they can include one. The founder (Edgar) sets things up with your via screen share like concierge service.
I've had 2 people over to demo.
1) I will run withouth Bacch-spacial, but with the ORC / EQ at a minimum for their baseline of their fav tracks.... sounds dynamic, balanced, solid stage and very much media/track dependent imaging.
2) I will engage the 2nd pre-set (still with ORC/EQ) but adding the spatial correction, and it gets... interesting, speakers truly disappear and things that are meant to be focused (a single singer's voice) become a laser vs. a flashlight. wide chorale or live band setups are enveloping. it's spooky without being distracting**
** on 1-2% of tracks, usually studio recordings, you'll hear an odd tambourine or single element truly at 2-3 o'clock or 8-9 o'clock and be like WTF no way the player would be in the 3rd row. but on real recordings or where the engineering wasn't pushed too far. it's quite amazing. worth auditioning, via their satisfaction guarantee.
who is this not for? SET 1-3watt amps and low sensitivity speakers. the system cuts (levels in ORC and among other things, phase work for the spacial) so Edgar shared the one setup where he couldn't get a satisfactory output was an SET tube amp with only modest sensitivity speakers. (not problem in my case, Tekton Ulfbehrts with Buckeye Amps and BAT preamp).
if you're on the hunt for what you describe, try this, it may be for your or not, only your ears will know.
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The LRS+ is great in a small room, I use one in my office. Though the lowest model from these guys may have more resolution. They also have models that go up to $50k.
Diptyque audio - Hauts-parleurs plans Haute-Fidélité - REFERENCE
However, for me if want a large sound stage and imagining I would look at a KEF Blade Meta (or 2 Meta).
My Livingroom speakers, the Yamaha NS5000, also have great imaging but the Blade is the best at that for me. The Yamaha drivers sound better to me though.
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Get yourself a pair of LRS+ with the right electronics and sit back and enjoy superb resolution, staging, and imaging until you find your solution.
For an average sized room... "it don't get no better" than the LRS+... no matter what the price. Very much like the ESL 57's.
And when (if) you find your solution... and... you think an investment of 50-100 times the price of the LRS+ is justified... you can move the LRS+ to your office or bedroom, because you definitely won't be selling them.
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Scene from, Kung Fu, the TV show ca. 1970. “Old man, how is it that you could hear the grasshopper at my feet. Young man, how is it that you could not?“
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What I‘m saying is, if you take a cross section of musicians the percentage that have high end stereo systems and take time to listen intently is likely no different than the general population. I‘m not saying they can‘t hear their instruments. Years of playing and practice brings a unique sensitivity to the sound of musical instruments and voice. No question musicians can hear the subtle variations between instruments to such an extent as to identify time period and maker of an instrument. And the same is true for an experienced audiophile. They can hear things and identify sounds many of us would miss.
To brag about tricking people makes no sense. Lots of ways technology is used to fool our senses. And to estimate the sensitivity of someone else‘s hearing without a formal hearing test seems foolhardy. How can we even estimate our own hearing ability without a formal hearing test? But a formal hearing test is just one factor. Learning to listen is just as important.
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I prefer the "without" wavetouch. Sounds like you’ve removed the body and dynamics.
I thank you for your time to listen my video and for your honest feedback!
I expect that since your ears are used to your system which sounds good forwarded focus sound and bit aggressive (in good way) if I remember correctly.
The sound "dynamic" can be strong and big sound. My system can be louder but I recorded my video at reasonable volume.
Another meaning of "sound dynamic" is ability to show subtle nuances in reproduction audio. And I think my system does that well. Again, I explained (my last post) why many of you can’t hear my system correctly (takes some time to be able to hear it) since my system is only natural sound system in the world.
Similarly, in the thread when the option of the cuts includes the original, the MBLs, and the wavetouch, I preferred the original. The MBLs sounded too thin (maybe almost "tinny") and the wavetouch sounded contrived.
Again. Thank you for your honest feedback!
The original music is always best. No reproduction audio beats the original music. I put the original music and my video together to show they are natural sounds.
In my other post (link below), the best sounding MBL system ($million) and my humble system (sounds contrived tho) are at least comparable. MBL is using a master tape. My system is playing downloaded YT video (worse than MP3) and still show good musicality.
The original music is recorded from singer’s mouth to mic direct (1~2 feet) in studio. And my video is the reproduction audio plus the sound of room. Alex/WTA
https://forum.audiogon.com/discussions/looking-for-the-next-level-in-imaging?page=2
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I am sure you are right because if i am not a musician i learned experimenting with acoustics for 2 years non stop that we learned how to hear and how to listen...It is true for sound as it is for music from all cultures...
This training has nothing to do with taste ...
Many audiophiles if we read threads think that acoustics concepts are related to acoustic panels and are mere secondary tweaks compared to gear price tags.. ...
When I’ve done blind tests with gear swaps, the "audiophiles" I’ve known have always failed by a mile. I could trick em all day long. 😁 The guys who reliably pass such tests are the musicians I know.
Strange thing is...You seem to be dismissing decades of dedication and pain one may through with an instrument...just like that. Well, frankly, I don’t give a crap..., but, sure, Okie dokie.
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Perhaps musicians listen about as well as we would performing.
?!
I wonder if you are thinking about some 19 yr old punk rocker screaming at a bar into a 300 dollar plastic PA kit.
I am not a professional musician (not my livelihood), but, I’ve been known to be strapped to a violin (piano to a lesser extent) since I was single digits old. Are you implying that the average "audiophile" I run into at shows could hear a violin better than me? In fact, I have a few different violins. I could play/record a few different pieces on 2 of them and I can safely say you wouldn’t be able to say which is which. To me, the difference is night and day (must be some kinda voodoo indeed).
I know my place... A friend of mine is a sax guy, who’s been tied to it longer than I have to my instrument. Do I hear it better than he? Absolutely not! Another friend of mine is a Ghanaian musician who only lives a couple of miles from me. I certainly ain’t no expert of him. His way off describing music would sound quite bizarre to some, but, he is also the most golden eared bat I’ve ever known.
When I’ve done blind tests with gear swaps, the "audiophiles" I’ve known have always failed by a mile. I could trick em all day long. 😁 The guys who reliably pass such tests are the musicians I know.
Strange thing is...You seem to be dismissing decades of dedication and pain one may through with an instrument...just like that. Well, frankly, I don’t give a crap..., but, sure, Okie dokie.
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I prefer the "without" wavetouch. Sounds like you’ve removed the body and dynamics.
Similarly, in the thread when the option of the cuts includes the original, the MBLs, and the wavetouch, I preferred the original. The MBLs sounded too thin (maybe almost "tinny") and the wavetouch sounded contrived.
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@mikelavigne ,
Thanks so much, re "here are those room tuning links to what i did back in 2015."
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@grislybutter There is no sound stage at most live concerts.
@patrickdowns Nice beginning!
I was born in 54. Up till age 4 my dad had to play me records on his Zenith console system. I could not reach the top. I pestered him constantly to play records. On my 4th birthday my parents went out to dinner, I guess, leaving us alone with Mrs. Viles, our elderly babysitter. They came back at something like 11 PM and dropped this large brown cube at my feet in bed. Dad asked me to guess what it was. I do not remember coming up with an answer other than it is a box. I could not think that it would be something so precious as a record player. It was a Zenith portable with the same Cobra tonearm my dad's big system had except it was black. His was a tan color. At first my father would not let me touch it! I had to get them to put on a record, but now I could easily watch how to do it. So during the daytime, with my dad at work, I grabbed my mother and requested that she watch. I did everything perfectly. It took her another week to talk my dad into letting me use it by myself and away we go. Walk On By was one of my favorites.
Listen to a lot of systems, listen to live acoustic music. You would be very surprised at what you can do at a relatively low price. Don't guess and lose all your assumptions. Measure. Get a good mike, Earthworks makes the best, and a measurement program. See what your room is doing, where the problems are. This will guide your acoustic management. You have to use your ears to authenticate results and compare with what you've heard on the best systems. How equal are the two channels. Any differences greater than 3 dB are certainly an issue. How committed are you to your speakers? Do you plan on upgrading? If so, don't waste a lot of money on this system. Read the Benchmark Post in Misc Audio. I think this is great advice. Good for them!! You are building a system around speakers dealing with their specific issues over time. This is an evolutionary process. If your speakers are shy in the bass you add subwoofers and a two way crossover. If you are clipping on loud passages you need a bigger amp, and so forth. It has always been a game for me to build a state of the art system without spending stupid money by researching and choosing components carefully.
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to be honest when I am at a live music event, I don't listen for the sound stage. I believe my eyes 😊
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IME, the best sound image system was with Quad 57 with a dinky real old tube power amp in 1990. The sound images floated like a ghost between speakers. The flocking of guitar images were like audio notes dancing on the air. I could see and feel lips of a female singer. My audio-quest started that day. I had a music system (Inkel Concerto) on 1979 and few other systems until 1990.
I had below system in Black.
The best sound images I made was with Avalon Eclipse, Jadis Defy-7, ML-26 around 1997. I played with Avalon speaker sounds which had many options such as tweeter covers and sound damper pad.
I think the sound image is the most important part in hi-end audio. It is an art and very special. I will recreate those ghost images later if possible.
No. I change my mind. I don’t think so. I won’t play with those ghost images again. Why? It is not that special now. I have a natural sound system now. The ghost sound images are dry and tasteless sound images to compare the original natural sound system I have. I don’t think I’ll like those embossed (outlined) ghost like sound images from a conventional system now. And I must endure with the sound coloration, glare and veil from those systems. I won’t waste my time for ghost images from un-natural sound.
Also, I don’t think my ears will be happy with those harsh sounds. The ghost sound images are the combination of harsh sound of certain freq and reflection sounds (from walls and ceiling) of speaker distortion sounds.
I know many of you don’t hear my video sound correctly because your ears are tuned for your audio system which is un-natural sound which you’ve been hearing for life from your audio, your car, church, Disneyland, etc. To those ears, the original music sound much different from what I hear. Many of you earned seasoned ears through decades. So, you remember it took weeks to months to open your ears for a special gear. It is not easy to hear the original music and my videos correctly for those biased ears. The original music is a natural sound and it won’t take long time to earn open ears for seasoned ears but it’ll still take some time with concentration (search and try to hear the singer’s mouth and voice images in the sound-stage).
The original song is recorded directly from a singer’s mouth to Mic (1-2 foot distance?) in a treated room. So, live-recording video must sound the original music plus the room. So, there is an sound difference between the orig music and my live-recording video. Alex/WTA
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is it possible to break down or quantify the importance of the different components and room design and tuning?
For example—and I am just throwing out numbers as examples—would it be 30% room design, acoustics and tuning (to get a holographic image); 40% speakers; and 30% front end? Is it possible to break it down? And to refine it even more, like ratios of importance for the front end (ie, amp, preamp, DAC, source)? If percentages are unrealistic, maybe a ranked priority order would work?
@patrickdowns
back in 2017 i responded to a thread question; "What is the most important part of a system" .......which does somewhat answer your question. i don’t feel you can assign percentages, since the process is dynamic and builds on itself.....and there are too many starting points and variations and matters of preference.
but i still see things this way generally. i’m only linking this since i don’t want to derail the nice thread away from the "imaging" focus.
https://forum.audiogon.com/posts/1399899
as far as room tuning and how it relates to imaging; i’ve posted links to how i did my personal process back in 2015 before. it starts with having a personal reference sound. sometimes that is the issue; we all don’t possess a locked in reference to chase to guide us. sometimes we delegate our system character to a dealer, or friend and follow their advice. it’s s perfectly valid way to go and honest. but better is when you do have the light go on and you know where you are going and so can attack it yourself. then; if you are lucky enough to have a dedicated space where you have the flexibility to be able to do what you want; then it’s doable.
here are those room tuning links to what i did back in 2015. lots of details. and note that i had been in my purpose built dedicated room for 11 years in 2015, so i had crashed and burned a number of times and underwent a baptism of fire to get to the point of my final 9 month long dash to success.
https://www.whatsbestforum.com/threads/almost-free-and-4-inches-the-final-1.17389/
https://www.whatsbestforum.com/threads/almost-free-and-4-inches-the-final-1.17389/page-3#post-314941
https://www.whatsbestforum.com/threads/suck-out-fixed-i-think.18116/
https://www.whatsbestforum.com/threads/suck-out-fixed-i-think.18116/page-2#post-329496
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"Every recording has a correct volume, a volume at which it sounds best. This is because our ear's frequency response changes with volume."
The "volume control" is to be used like the "focus" knob on a microscope or telescope.
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Remember in the movie, Back to School, Rodney Dangerfield pays Kurt Vonnegut Jr. to write an essay for him about one of his own books. Rodney‘s character gets an F on the paper with the comment, “I know you didn‘t write this paper but whoever did knows nothing about Kurt Vonnegut Jr.“. There is some truth to that. We interpret things in ways an artist or designer never imagined.
Perhaps musicians listen about as well as we would performing.
I prefer stereo sound without tone controls or spatial processing. It‘s taken me years to accept listening to music reconstituted back from binary code.
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I have listened to omni speakers and they do produce sound that fills the room but lack pinpoint imaging.
The answer does not simply depend on speakers alone. A nice 300B amplifier with speakers to match should do the trick.
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@mijostyn
I want to hear exactly what is in the recording. I do not want to hear any editorialization by the room.
How is this possible without attending the recording session? Don’t we want a presentation that we consider natural and representative of the live performance. In other words, all of this depends upon our own preferences. Many of us must compromise due to our room, budget and other constraints, but ultimately we want our system to, as much as possible, have seeming presence of the musicians and instruments in a pleasing space.
Some musicians don't care...Some musicians care, but have to compromise a lot...All kinds of recordings get produced in very unfavorable circumstances. Even an artist who cares will quit being nitpicky when he needs to get paid ( considering the fact that a vast majority of the masses who buy the albums don't care).
I have demo'd my rigs to multiple musicians from different genres, a multichannel object based/spatial rig, a 2 channel rig with BACCH and purist stereo rig (I can literally do that in the same room).
I've asked them, "You are sitting here listening to 3 different presentations of your album...How would you prefer your album sounded? Demo 1, Demo 2 or Demo 3?
Not a single one of them has picked purist stereo, thus far!
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I have to agree with @mijostyn again. It seems like a bad thing to have reflections changing the recording from the way it was intended to be heard. Although I’ve read the reflections add spaciousness that is pleasing to most people. It truly is totally subjective which one you like better
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@mijostyn
I want to hear exactly what is in the recording. I do not want to hear any editorialization by the room.
How is this possible without attending the recording session? Don’t we want a presentation that we consider natural and representative of the live performance. In other words, all of this depends upon our own preferences. Many of us must compromise due to our room, budget and other constraints, but ultimately we want our system to, as much as possible, have seeming presence of the musicians and instruments in a pleasing space.
Every recording has a correct volume
Ah, that is why I listen to Taylor Swift with the sound muted.
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@mijostyn I thought I knew what soundstage was until I read your essay :) Very educational and I am happy to always be learning.
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@mijostyn , points well taken. I was born in 1957, by the way! Got my first decent system (for me, as a teen) in HS (Bose 301s!), but had fallen in love with music reproduction long before then, lying on the living room floor listening to Dionne Warwick, The Association, and the Everly Brothers on my parents’ big console hi-fi.
I still have much to learn and do to optimize my system, but know that I probably don’t have the perseverance, talent, rigor, patience, and critical ear to do what @mikelavigne has done, and others too who have really refined systems. Even if I had the budget, I would need help. It is also interesting how subjective AND objective the pursuit can be, and how each person may have different priorities. Horses for courses. I could probably be really happy with a great, simple system consisting of a great pair of two-way monitors, a great integrated amp, and an excellent DAC and streamer (streaming or ripped CDs are my thing). I could also be very happy with a much larger, more complex and expensive system. I am a guy who can have fun driving a Miata or a Porsche 911 (which I may never own—woe is me). Cheers.
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@patrickdowns Not to toot my own horn, but I have been doing this since 1958.
@mikelavigne I look at it from a different perspective. I want to hear exactly what is in the recording. I do not want to hear any editorialization by the room. As far as reproduction is concerned, everything is important. Detail, dynamics, bass, and imaging. Bass and imaging are definitely the hardest to get right. Some systems are even hyper detailed, audiophiles tend to love this. If there is a question of balance it is with volume. Every recording has a correct volume, a volume at which it sounds best. This is because our ear's frequency response changes with volume. Funkadelic recordings sound like crap if you listen to them at casual volumes, but turn them up on a system with great bass and magic occurs. Listen to a string quartet at that volume and the violins will cut your throat. Joni Mitchell albums generally sound best at intermediate volumes. Much of this has to do with the volume the music was mixed at. Early Zappa records sounded compressed and muffled with poor bass. They were mixed at crazy high volumes on less than stellar equipment. You really had to crank them to get the most out of them. The re-releases were mixed on modern equipment at moderate levels and the difference is a major improvement.
I might also add that like my room, your was expressly designed for music reproduction making it much easier to achieve decent control. I only had to add absorption directly behind the speakers.
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My two cents,
Unless you can have your speakers at least 2.5-3 feet away from the front wall and at least 3’ from the side walls and your listening position is 5-8’ from the back wall, you are probably not going to get the best your speakers.
My KEF Reference 5’s are three feet away from the front and side walls. They are 8 feet apart and my ears are just a touch less than 8 feet from the front of the speakers. Oh and my listening position is about 6 feet from the back wall.
All the Best.
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@mikelavigne
Hello Mike. Thank you for your input. I think you are definitely correct about having a good balance. My point was if your room was going to be either over damped or under damped it seems like over damped is better. I have heard rooms with little to no treatment and my room sounds better to me. My room was designed by an acoustician and all the walls and ceiling are the ‘treatments’ if you will. There is no drywall inside the room. My room is on the small side and I think he did a great job with the design. If I had a bigger room I would no doubt approach it differently.
Regards
Ron
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All I can say is WOW! Lots of good ideas and suggestions to work through. It's why I love these forums! So much to think about before you make a decision!. I will say this - the most intriguing idea (and I forget which responder/poster said it) that you can't reproduce what isn't there. Helluva observation! However, I thought that's why Dolby Atmos and Sony 360 were brought to market. Which then made me reconsider what I'm after. Thanks for the good debate!
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Increasing detail and resolution will improve imaging. Increased detail provides better imaging cues, more air around images. An effective way to improve detail and resolution is to isolate the speakers and components. The best way to isolate is by using springs.
For decades my speakers sat on spikes. I knew spikes improved the sound over the speakers resting directly on the floor. Then a few years back I got the idea to build some spring platforms for my speakers. The improvement in sound and detail blew me away. Eventually I bought the Isoacoustic footers. They sounded a bit better than my self made spring platforms and were also much easier to use. Wrestling 130 lb speakers onto my self made spring platforms was a bit tricky. I use Isoacoustic footers on my current 238 lb speakers and they are clearly superior to the factory supplied spikes. The subwoofers in my HT setup now use my self made spring platforms and they sound great. Having the subs isolated from the floor eliminates all muddiness in the bass.
With that success I tried isolating my components with springs. I found that it is better to isolate the shelves with the springs vs. putting the components directly on the springs. Isolate the shelves and then place the components on those shelves and use your damping of choice between the component and shelf. The ideal isolation is to have the shelf/component combo resonate at around 3 Hz. That can be difficult to achieve sitting on compression springs; but I find that below 7 Hz works very well. I have thought about building shelves that hang on extension springs. It would be much easier to achieve 3 Hz but my system sounds so good right now I have no motivation to tinker any further. Maybe later, perhaps. Although I have already seen a couple of examples of racks using shelves suspended on springs.
I gained so much detail that I found it distracting at first. It took away from the music. I almost wanted to go back but it is like letting the genie out of the bottle. Fortunately, in time I grew accustomed to the added detail and resolution and was back to enjoying the music even more with the improved imaging. It's quite a thrill listening to a Chorale piece and hearing each individual voice across the sound stage vs. a cloud of voices.
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Hi @mikelavigne
re: "but when it comes to musical connection, my highest priority is ’why’ and ’what’ the musician is doing, not ’where’ he is doing it. it’s the musical intent and musical energy, micro and macro dynamics, textures, rich tonality, and flow which is the priority."
You have surely gone to greater lengths for a longer time than probably anyone on A’gon to make your room and system as good as it can be. In your quest to achieve a balance of all the best of "why" and "what", is it possible to break down or quantify the importance of the different components and room design and tuning?
For example—and I am just throwing out numbers as examples—would it be 30% room design, acoustics and tuning (to get a holographic image); 40% speakers; and 30% front end? Is it possible to break it down? And to refine it even more, like ratios of importance for the front end (ie, amp, preamp, DAC, source)? If percentages are unrealistic, maybe a ranked priority order would work?
I have heard tell of very expensive systems that sounded mediocre relative to price, because of bad rooms, poor setup, and another big problem (I’m told)—poor synergy between components.
I’m sorry if the question isn’t well-stated or imprecise, but maybe you get my drift. THX
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You don’t want an omnidirectional speaker. Your dipoles are as good as you’re going to get for both imaging and spaciousness (artificial) without cabinet coloration.
Otherwise, look for speakers with incredibly well damped cabinets, controlled dispersion and steep crossover slopes (perhaps active crossovers for best results).
Driver quality also plays a large role. The higher the distortion of the drivers, the more they smear the image IME. Same for crossover slopes—low order/shallow slopes cause the imaging to fall apart when the music gets complex or played loud.
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+100 on over treating being better than under treating. Especially in smaller rooms where control is even more important.
@ronboco
i spent years optimizing the imaging in my large dedicated room, and holographic imaging is very important to me. i already wrote a long post in this thread about my opinion about it.
but when it c omes to musical connection, my highest priority is ’why’ and 'what' the musician is doing, not ’where’ he is doing it. it’s the musical intent and musical energy, micro and macro dynamics, textures, rich tonality, and flow which is the priority. every time i made a change in my system or my acoustical treatment i would take a week to 10 days to make sure that i was not inhibiting the flow and energy and musical touch to attain better imaging.
i want it all. imaging is desired, but it’s not first in line.
so over doing room treatments is NOT an option for me. it’s all about balance.
the physicality and how the music effects me is what i desire. imaging just takes it further. live music many times is a mess as far as imaging, yet we automatically connect. it’s REAL.
small rooms can be a challenge; i just got back from Axpona and there are many small rooms. but still musical connection comes from balance, and sometimes imaging suffers to get that connection. turning down the flow to get imaging is not how i would like it. YMMV.
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mihorn, Unfortunately this is not the cleanest most natural sounding system in the world, sorry to burst your bubble but there’s a much better systems out there.
It is possible that my system is not the cleanest and the most natural sound system in the world. There can be many better sounding systems which I haven't heard yet.
Please kindly let me know what and where is that much better sound system. Alex/WTA
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Speaking of the recording engineer's magic, this live album has long been one of my absolute favorites, both for the music and for the quality of the recording. Kavi Alexander of Water Lilly Acoustics is a recording master. A Meeting By The River won the 1994 Grammy Award for Best World Music Album and its success spurred engineer and Water Lily Acoustics head Kavichandran Alexander to record more collaborations.
A Meeting By The River is universally praised for the authenticity and realism of its recording and its 2008 vinyl release is often cited as audiophile-quality reference material. The session was captured using two customised valve mics in a Blumlein-array arrangement (using Tim de Paravicini tube gear, IIRC) into a converted Studer two-track analog tape recorder and the louder you play it, the more every rattle and scrape of slide on fingerboard and every microtonal flurry draws you into its rarefied, spontaneous atmosphere.
A Meeting By the River review
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