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Part 1 - Introduction

A few weeks I was sitting at Boston-shore of Charlse River, was looking at the passing water, was smocking my long and cheap cigar and played in my mine the first movement of Beethoven Third. I was thinking about Sound and about the ways in which I would like to hear it. I was my normal mix between my desires to have a specific music to be interpreted in my own way, projected to my use of audio method as the tools for expending the meaning of Sound to a new creative philosophically-contrived level. At that time I was particularly interested in reinterpreting Erotica with Jewish music scale, adding o it the Beethoven’s phrases some mid-eastern harmonies – the prose’s rhythm of my beloved Thomas Mann give me a great inspiration I this direction. Suddenly it came to me that some things that I play in my head very clearly have no projection to any imaginary audio methods I am familiar with. This is a common feeling of mine but that specific feeling I memorized very vividly. If I have some kind of psychiatrist then in the history of my diagnoses he would put it down as Charlse River Syndrome.

A few day back I was listening BSO and as many of us, the audio people, sometimes do during bored live performances I was thinking about the difference between reproduced and live sound.  There are many aspects that I would name but at that time I was interested about one very specific and very narrow aspect – the multifaceted MF range. ( People, if you excited about the differences between reproduced and live sound then, please, do not pile your irrelevant thoughts in this thread – this thread about different things). Under the multifacetness of MF I mean that in live sound MF is infinitely different. If you mentally band-pass the sound of orchestra to a bandwidth of out MF drivers then you will see that the damn live sound unlimitedly and inexhaustible adaptable in it TTH capacity. Remind you that TTH Characteristic is an abstract conceptual quotient that I described in very first approximation and in great simplification in here:

http://www.goodsoundclub.com/Forums/ShowPost.aspx?postID=5874

In audio sound the TTH Characteristic is fixed, it is subject of set, predetermined design. In live sound the contributive measures of TTH ingredientsare very vibrant and they in constant, instantaneous move. I closed my eyes and begin to visualize the ways to un-tight the TTH ingredients and suddenly it come to me that if I find a way to do it properly then it will be a perfect solution that would address the Charlse River Syndrome…

Anyhow, the answer did come to me and I call the principle – the AMI™ Solution. I did not see it was used anywhere or even people shape the objectives to break the TTH apart. In audio TTH is an atomic, basic component that is fixed and undividable. Well, since the experiments in late 20s we know that atom is splittable ….

I was thinking about it a few days and I think that I come up with a ridiculously simple, very practical and very effective way to split the TTH component - the AMI™ Solution. I did not make practical experiment yet but it shall work. What is important to understand is that AMI is not a subject of ordinary MF frustration of any kind. I have no MF frustration with my playback – in fact, speaking humble, I feel that I have the most interesting and fertile MF I ever witnessed in audio. However, the AMI™ solution might able to take ANY mid range further then it is by splitting the TTH. The AMI does not use on any specific topology, drivers, or amplification – it rather a universal principle. Still, in a few days when I have time to write up the second part of this article, explaining the AMI™ idea, I will use horn MF channel just for an illustration as it is the field where I have some familiarity. For now stand by and try to digest what have expressed above.

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