06-02-2014 Post does not mapped to Knowledge Tree decoud United Kingdom Posts 247 Joined on 03-01-2008 Post #: 41 Post ID: 20933 Reply to: 20932 Discrimination vs labour fiogf49gjkf0d The logic here is that to be able to play and appreciate a Stradivarius you have to make it yourself. That is too hard a line. There are plenty of basic things that the vast majority of installations get wrong. We are talking about lifting the baseline from which intelligent further development begins. A distinction also has to be drawn between musical discrimination and the technical ability to do something in response to it: they are different things. That many of those technical enough to be drawn to DIY lack the musical discrimination that is needed to give much meaning to their efforts does not mean the converse has to be different.  What I am suggesting is a way of establishing a physical proof of concept. If the world could stream through Romy's house perhaps these design ideas would be more prevalent. No reason to care, of course, what the world thinks, but it is natural to want to see one's ideas attractively disseminated.

06-02-2014 Post does not mapped to Knowledge Tree rowuk Germany Posts 454 Joined on 07-05-2012 Post #: 42 Post ID: 20936 Reply to: 20933 DIY Stradivarius fiogf49gjkf0d I guess I would like to be able to do something better than anyone else - and still be better after 100s of years..... My take is a bit difference. When I perform with players with a Stradivarius violin, it isn't the violin that is impressive - up close they have a "scratchy" sound and sound like a lot of work to play. No what is wonderful is the inspired playing by those fortunate to have access. They are also the first ones to say that there are enough great contemporary instruments and their playing is not "better" on a Stradivarius. If we look at speakers, how many are acoustically in phase? How many can be set up in phase without rebuilding them - just about NONE. There is also a reason for that. The sheer volume (not cost) of equipment necessary to "do it right" limits the amount of customers to those with the real estate, the cooperative partner, the time to care. Those people will find there Macondo without us - generally from people like Jeffery Jackson. I think that the only customers for a Macondo have the advanced musical taste and the physical and financial means to pull it off. I know of perhaps a handful that give a shit enough to do something this substantial. Out of that handful, most of them have more important decoration themes to appease the other half. I would think that the first step in building a business like this would not start with hardware, it would start with recordings. I used to play in a jazz quartet for brunch at a Holiday Inn. I could picture a venue like that for serious applied listening (a definitive, historic recording with a presentation of the circumstances and then like a concert, listening all the way through). Then perhaps common denominators could be found and a following built. I think it makes little sense to have a Macondo if there is not the active reference to and love of live music of similar scale. Whenever I feel blue, I start breathing again.