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In the Forum: Playback Listening
In the Thread: About the Critical Audio Tune ™
Post Subject: Loos vs. strategic offsetPosted by Romy the Cat on: 8/30/2009

 Axel wrote:
is what I have called it, and what I hear you are describing? I wonder for how long you will be OK with it.

Yes, I might call it in way a “Loose Cannon sound” but the work “loose” is a bit misleading as the “tone” is not loose but strategicly offset. Loose impales randomness and erraticism . There is nothing like this doing on in my case. I would rather describe this Sound as “tonal limp” but the limp is very minor and in a very beneficial in my view direction. It would remain a person who is perfectly fluent in a given language but has a very-very minor inflection of foreign enunciation, so minor that you can’t tell if it is a foreign accent of just the person natural way of speaking. In some cased it is VERY attractive, particularly if it is coming from women. For instance I turn absolutely horny when I hear some women with relatively low “contralto” voice have some residual North London accent – I can herd then how hours regardless what they say.  It does not distract me attention from the message but it embellish the messages with added value of esthetic pleasure of unconditioned reflex to secondary stimulus.

 Axel wrote:
We have had this effect by using 1st order crossover with absolute minimal insertion loss, so you would now listing to uncorrected drivers in 'full beauty' of their idiosyncratic artefacts.

Oh, I absolutely disagree with it. First of all the “minimal insertion loss” is absolutely not on the picture, second it described ONLY the fact the bad drivers were used in your given application.

 Axel wrote:
  It can be initially exiting to drive with no 'breaks', but the longer you listen the more you will know that something is not 'right'.

I think that the condition that “something is not right” is not an absolute term but it has stratification. The “strategic detuning” is used very widely in music, look at the stretched octaves in piano or at the ability of some great string players to open note with very-very slight of-tune feeling. I do not defend that I will not change my view about the effect on future but I think that with a proper level of setting it works very well. I have it running for 2 days now and I love “it” a lot. Of cause it very difficult to describe “over internet” what “it” is and what degree of “it”. However, among the people who know me there is knowledge that whoever I run my mouth about I can demonstrate. So if you found yourself in Boston I will demonstrate the upper channels playing “in tune” and when is “something is not right”. I give a very high possibility that you would find that when “something is not right” then it was more interesting, particularly if that “not right” is rendered properly. But, again, I do not try to convince anybody in anything…

 Axel wrote:
  It is a trade off, total 'openness', hearing EVERYTHING --- and a lot of this 'everything' is not part of the recorded 'intention' i.e. driver artefacts and it will impart this on ALL that you are listening to.
Like putting salt even into you tea or coffee (some like it though).

There is absolutely no conflict between 'openness', ability to hear everything and what I am talking about.

The Cat

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