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In the Forum: Horn-Loaded Speakers
In the Thread: The tapped horns: cons, pros and Sound
Post Subject: Testing the search functionality: some useful readingPosted by Romy the Cat on: 5/8/2009
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 JLH wrote:
I don't recall you talking about Pressure and Tone SPL before.

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 Romy the Cat wrote:
I know this effect but if it happen with bass horns then I do not call it “"pulsating room effect" but I rather call it “+1dB effect”. Some bass horns being placed in their rooms increase the density of pressure faster then the density of sound. It is bizarre concept of mine and no one understands it. Let try to explain it. Density and Pressure of tone has purpose and this purpose is described by artistic value of musical peace. With the expressive intentions of a given composition and the given interpretation there are always inner-reasons what density and what capacity of a note should be. In this case density, capacity and potency of a tone are almost the synonymous. However, not the Pressure. Pressure is an absentminded parameter that has relation to objective deviation of one volume over another but it has no relation to musical intentions. So, when you told that your have that “"pulsating room effect" across full MF range then I had no problem with it – it looks you are getting good sound out there. However, what you said that your have the same effect from basshorn I recognize it as a problem (your friend Trombonist with his "picking up the room" is very much irrelevant because he plays MF-HF instrument). The load a room with a dense, phase-perfect MF is wonderfully and we in a way experience it in “live” sound. (I said “in away” because in “live” sound we have also “space” and unlimited dynamics…., but it another subject) However, in “live” sound we never experience dense bass. Of course I’m talking about Sound of classical music, opera or any acoustic music not about the electrons surrogate). 

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 Romy the Cat wrote:
Vowelness describes harmonic infliction to a note and has a lot to do with a parabola with which a tone rolls to its pitch. Why “vowelness”? Because vowelness is about injection of different vowels into other vowels.  The vowels themselves are “pure tones” and they are characterized by open configuration of vocal tract, so that there is no build-up of air pressure above the glottis. A person with healthy breathing has a perfect inner-references and a clear cognitive recognition of vowels. Any coloration of vowels is a coloration! I had many people were pissed on me because I did not like their bass-horns or subwoofers juts after a few seconds of listening. They accused be for not spending enough time and rush with my negative judgment. What those people do not get is that I know (in most cases) what I’m listening while I listen. I care less how “fast” those subwoofers were and the very first thing I need in LF section is to be able to render vowels without colorations (Ironically the “vowelness” has practically no relation to room response and it is almost exclusively the topology of LF topology). What I mean that “e” should not have “o” in it any “u” should not have “opened a” in it. Russians even more lucky as then have an amassing vowel “ы”, which it superbly useful to assess the LF sections…. Anyhow, I think you got the picture… and what you GOT IS NOT WHAT I AM PROPOSING to deal with the “Oops Techniques”. Sure what I describe in this paragraph is a large part of “Absolute Tone” but it is NOT what I am after in CONTEXT OF THIS THREAD. What I am after is the Absolute Tone’s bubbleability.

The bubbleness of sound is an ability of Absolute Tone demonstrates a high rate of bubbleability. Let I give you an association. Pretend you put a pot with a gallon on water on over and the water begin to boil. As you see the small bubbles of air begin to build up under the bottom of the pot and they run up to surface. Then, while the water is boiling, you increase the temperature of heaters and you see now that the bubbles begun more intensely and more aggressively rash to the surface. The very same is with Sound. The Tone is a Tone but beside the Tone there are those bubbles that are popping up at surface of Sound and burst like microscopic explosives. These bubbly explosives do not affect Tone but they affect the Radioactivity of Sound ™ of the force with which Sound injects itself into listener’s skin and mind.  This bubbleness is what I am targeting with the notions of “Oops techniques” or as Rony Weissman brilliantly descried: “cellos were extremely hairy”. (BTW, the bubbleness is where the S2 is uncontestable emperor)

So, the direction I a looking is slightly opposite then juts use the wood of musical instilments. I formulated VERY EXACTLY and I know VERY PRECISELY what kind “noise” I need to overlay over Sound in odder to get that feeling of bubbleness. I just have no idea what would be able to produced that “noise” in context of horns. So, what I would be interested would be most likely very far for what musical instilments do and is more aligned with the affords of the folks who record noises for cinema films ….

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 Romy the Cat wrote:
I would consider it, however my experiments with notching lead me to feel that high level parallel notching is as bad as series. A series network removers meaningful tone out of acoustic pressure. The parallel network does not do it but it eats transient response. In both cases the “bad things happens”.  Also, what whatever reasons the parallel network provides different effect with the different but identical drivers. I think I have to explore more opportunities of a parallel notching at line level…

The Cat

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