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In the Forum: Horn-Loaded Speakers
In the Thread: How to USE “Resonating Oops” in loudspeakers
Post Subject: "The whole notion is so romantic..."Posted by Romy the Cat on: 2/28/2007

Yes, Paul, I got your points and I find them valid. It is hard to explain what I’m interested in. When I try to convey those ideas then to people are under faulty presumption that I looking for some custom coloration, like SPU or Tannoys form 50s had. Their romanticism and Dean Reed rubber-chewing voice are nice but it not what I an after, in fact it is what I do not like. I believe I know all those games and I know what kind pitfalls are possible in there. If to drop all BS and call the things with real names then I am after the very same things I always was after after: the Absolute Tone
I have written about the Absolute Tone in loudspeakers many times for instance here:

I wrote:

The “absolute tone” is the absolute maximum of tonal complexity that a playback is cable to reproduce. It is like a violin. If we take for instance both Amatis, Stradivaris or Guarneris then they might indicate a quality of “absolute tone”. It does not necessary mean that they under all conditions have better tone than some other best violins but under good conditions they are capable to throw insultingly high (or interesting) tonal quality that might not be reached by “other” violins (particularly in ambient conditions). This absolute maximin amplitude of the “tonal sophistication” is not reachable by some "other" instruments, no mater what you do to them and how skillful players might be. The very same is with loudspeakers. They all have their “absolute tone” limitations. The audio people mostly do not consider them because the 99% of loudspeakers are “absolute tone” impotent. We do not really know where the “absolute tone capacity” derives from and audio engineers never cared to answer this question. Perhaps it is in materials or in design principles but I feel it rather in a sense of recognition and assessing of results – something that never was research seriously in audio.

So, what I feel now that secondary managed resonances might be one of the ways to push a system’s Absolute Tone further then it capable being driven by electricity. I do not know if I am right and I have very limited experience to research the subject. This why I push others think about it. It is difficult to explain the subject of Absolute Tone to people who never experience Real Noble Absolute Tone from a playback installation. The contemporary speakers do not have any tonal nobility at all and to find a tastefully and properly build installation with appropriately used selected vintage drivers is EXTREMELY difficult. If I did not head it at CES 2002 (that system was not demonstrate for punlic) then I would hardly know that it is ever possible. It is like you and horns: if you do not know how it might be then you do not know where to go... Sure there is a ‘live” sound but it different thing that relates to Audio only in a specified context…

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