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  1. Enjoyed much of it. Thanks. I must say some of the long haired math hurts my brain. I did find the Constant Directivity loudspeakers technology a good read. Page 9 of that PowerPoint shows how Gedde enlarges the lateral listening positions using off axis power output and direct power output of CD loudspeakers in favor. On paper it looks interesting. Still thinking the new timing issues once off center are going to compromise detail. Regardless I enjoy the read. Thanks again
  2. So I’m curious be cause I don’t know of any speaker manufacturer claiming there focused HF driver is for your benefit. I haven’t researched though...either. I know of some claims by speaker manufacturers that the minimal vertical dispersion is for your benefit. Without some quality of horizontal dispersion I am not sure a speaker pair has any decent chance to fill any room with original source detail. I think it would be real easy to tame far left/right boundary reflection even if you had to address it close to the source. Dont know if this is any help...just my brain in orbit
  3. Maybe the real question is “what is the greatest distance one could move off center before image, detail, and spatial information collapses. I think if you had your beaming spot light speakers the answer could be zero lateral movement from listening position. I know, from my experience, speakers that have a good level of linear off axis response the movement is greater than zero. My experience also showed me that a room with a wider front wall can offer lateral movement greater than zero. Maybe, maybe not, the combination of excellent off access linear response and wider frond wall would add up to something to really talk about. Of course I am assuming a treated room with speakers well placed for any width front wall. Is it possible that the lateral distance measured between listening spot and “X” is time related and therefore has more to do with width off front wall? I’m thinking at some point of left or right movement the timing comes into play and we notice things collapsing.
  4. One time I had a dream I climbed a fence at the airport and stole a jet. When I awoke the next morning I was arrested by the local police. They couldn’t prove a thing so I was released. I’m convinced I can fly.
  5. And....because of all the mixing ... I favor many of the two mic and single mic single performance recordings where the recording engineers use placement of musicians as “some” gain control. BTW... I envy your job Brad. soundliasion.com Recommending a single mic single performance recording
  6. Using your/industry definition of “sweet spot” ..... .... Entire living room? Aren’t we just about there already? I guess I can see, in the future, “trereo” further defining space among musicians in the recording. Adding rear speakers creating an audible illusion of recording environment. But until then I feel like we can fill our listening environment. I have sat in enough Two Channel audio rooms where physical speakers vanish and a hologram of music and the sound of the original recorded room exists. Some will argue but I think this can only be achieved by treating the listening environment first.
  7. Be sure to define sweet spot before answering question Is this a trick question STC? I ask because a reflection free environment is “open field”. Who’s doing Hifi like that?
  8. Ok.... I’m glad I have this clarification. In all my years of audio the “sweet spot” has been a reference to the listening position. What I listen to is not a spot. It’s a grande illusion of width, height, depth, space.
  9. So.... not the seated spot? The listening chair as I define sweet spot.
  10. I want to be very careful as to not come off snobby. So work with me. I once heard someone describing , in an analogy, how they set up their Two Channel audio system. They referenced a photographer using an SLR camera, focusing in, taking a sharp image. He compared slight turns, back and forth, of the lens as the image became true to that of moving the listening seat and speakers in one inch then half inch then quarter inch movements to dial in the magic of Two Channel audio. Doesn’t everyone, to some degree, or all, care for their speaker set up in the same way? With that said . . . What change would you dare make if you took your ears off axis or to a different room for a listening evaluation? I think none.
  11. One of my top four guitar talents. His tone, texture and talent !!! Eric Johnson, Venus Isle
  12. The recording is so good you can’t help loving this one
  13. I want to clarify or ask for your clarification.... When I refer to the “sweet spot “ I am speaking of my listening seat. I am not talking about how sweet the speaker is playing back in a room. Please respond Brad and thank you.
  14. STC Im not suggesting that we look for a speaker that beams to our ears nor am I suggesting that removing all high frequency summing that was created by our room boundaries. I think we need our rooms to contain, for some period of time, what the speakers reproduce. The information has to “blossom” so to speak. I say this because I have listened in an over treated room. It simply lacked life and realism.
  15. This is incorrect. While you may not hear the cancellations as obvious you can hear the summing of delayed (added) signals in highs easy. Frankly I find it rather easy to discover the timing delay (slap echo) of high frequency in a room
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