Well, I was thinking about that “Resonating Oops” for a while. I made quite a number of experiments. I some cases I was able to get interesting results but the “Resonating Oops” is very illusive. I do know that many readers of my site have wrong perception of that this “Resonating Oops” is. I understand it and perhaps the name “Resonating Oops” is not really accurate term. Yes, the “Resonating Oops” effect sounds like alien resonances, and yes - it colors sound. However, the major question “how” it colors and what happens with sound BESIDES THE COLORING.
Here is where we approach to the most complicated question in loudspeakers – are we planning to be right and happy and by means of what kind implementation? Some vintage drivers (not all but very few of then) in appropriate application do produce a glorious, phenomenally glorious, insultingly glorious tone; in fact it is not tone but rather aberrations of tone. Still, those tonal aberrations are so appealing to sonic connoisseurs that they live and die to implement those aberrations in their listening rooms. However, the problems with all that vintage crap that the acoustic systems that have those superbly valuables aberrations (or something that I labeled as “Resonating Oops”) do not have accuracy, fidelity, range, low distortions and in 100% of all cases those “colorful acoustic systems” also poison sound, inflicting into sound their attractive aberration unintelligently, evenhandedly and unfairly. Let take for instance the Tannoy Reds in common original enclosure or Vitavox S2 with metals suspension + AK drivers. They have all glory of superb tonal aberrations across the entire range, with very sweat and very human tone. However, deeply admiring this tone, I got sick form THAT sound very fast because those “Resonating Oops” EVER-PRESENT EVERYWHERE WITH IDENTICAL FORCE. Each single instrument by a student of Berkley School of Music sounds like Stradivarius and each single player play in the same “sticky” way. All orchestra have the same tone and all singers sound like Callas in the end of the 50s. It is astonishingly pleasant for the freak-shows but it is also very ANNOYING FOR SERIOUS MUSIC LISTENING.
So, after many experiments of trying to imitate this “Resonating Oops” and constant failures I asked myself why juts do not combine the fidelity, dynamic and presentation of Macondo with strategically injected “Resonating Oops”? I begin experimenting with the “Injection Channel”, using Red 10”, equalizing, positioning, aligning and tuning it by measurements and by ears. Eventually I’ve found a very interesting configuration where the Injection Channel is driven by a separate full range Milq and here the Injection Channel does work very-very wonderful.
I drive the Injection Channel at 8dB-10dB below Macondo, flat from 10K down to ~125Hz. The Injection Channel is in phase (acoustically) with Macondo and precisely time aligned (very auditable). Injection Channel does not REALLY affect the Macondo response (it affects within 1/4dB are very FEW frequencies). However, what it does with sound was EXACTLY what I was looking for years. It preserves all presentational Macondo’s benefits but at the same time it has a very-very insignificant touch of something that I call “the sound of faded flowers”. It very-very faintly adds to Macondo’s tone my beloved perfume of spooled see weed mixed with aroma of fine English tea. It looks like a decoration for Verdi opera lit by light with very mildly reduced color temperate, making it to “sound” like a summer light at 3.30PM, instead of the summer light 1PM or 6PM… It is extremely pleasant effect but there is even something more….
I have a simple attenuator at the Injection Channel’s input and I might vary tha output of the Injection Channel from minus 6dB (more it sounds too much “yellow” and screws up imaging to much) to minis whatever unauditable It is a powerful tool as well as VERY useful.
At the first day what I set everything up and calibrated the WHRB broadcasted the Du Pre orgy. It was such a fun to play with Injection Channel and setting the desirable effect depends of the recordings and the orchestras … I was great… Today I played a lot of Buckner – Celibidache, Hausegger… It was not a good idea to play the Buckner 7th on May 9 but what can I do – I love the music. Besides, I hardly feel that any composer more benefited from the Injection Channel then Buckner with his “accordion sound”. The Injection Channel demonstrated itself superbly effectible and it is here to stay.
Because my need of another full range Milq for the Injection Channel I made some alternation of my plans for 5 channels single-stage Melquiades. I decided to convert my current 3 channels Super Milq into 6 channels super Melq (+3 single-stages). I do have a clear idea how it might be done and it will be relatively simple to accomplish (Sp, I will not build the amps into the Macondo frame). I will post the information about the Super Melquiades modification is the appropriate thread.Rgs,
Romy the caT
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche