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jessie.dazzle wrote:

Romy wrote:   "... Also it is very “kinky” moment how the delay from upperbass interacts with the delay from midbass. I know that not a lot of people would understand it but there are ways to “spread delays” or to use what I call the “distributed delays”. This system would be a perfect playground to experiment with it..."   The above statement and images of the system have me curious... I assume that at least some time alignment is done via electronic delays (this is possibly what is meant by "RESP" ???). Again, it would be interesting to hear from Klaus and Reinhard on this subject.

Do not Google the Distributed Delay - it does not exist. The Spread or the Distributed Delay is my “invention” if you can call of it as “invention”. The nature of the “Distributed Delay”, let call it DD, is complex.  It is not the complexity of DD itself but the complexity to interpret “where is right” as DD lives in a very murky water of ever-evolving perception. Let me to explain.

Let pretend that you have MF, Upperbass and Midbass channels – very much as Klaus and Reinhardt have.  Because the sizes of the horns are large at Midbass we have MF and Upperbass in time but the Midbass let say 7mSec delay.  We can use is as is or we can implement the Distributed Delay (DD). The DD approach implies that we set the Upperbass channel to have a delay between 0mSec and 7mSec. What it does is smearing some negative effects of time miss-alignment.

I discovered it once when I had a change to experiment with re-reposition musicians in orchestra.  I did not mange the musicians, the conductor did, but I had a chance to assess the results that I was looking for and had 360 degree access to orchestra from any sides. Locating different orchestral sections at the different distance in accordance to their frequency range I recognized that the time miss-alignment might be masked to a degree. Later on I modeled this behavior with small bass divers. It worked and it did not.

You see, the miss-aligned bass channel is a slave of a group delay. From a common sense perspective you might find a summit of a wave in the next few periods and align the driver in there.  If dose not work for Midbass as a next period is two streets way. Also, the miss-aligned bass and the bass group delay in some cases sound…. very pleasant.  I would even say that the majority of people who sing songs that bass are are great in realty so not react positively to bass sound coming from horns but rather the feel good hearing the bass group delays. I was able to mimic with two bass monitors the effect of “bass horns” just by change the distances between the monitors.  Add to it the fact that in Midbass over 50% of sound is the room reflections you would understand how murky the things are.

So, what the point of all of this? The point is that is it possible to have MF and Upperbass in phase but the Midbass with significant delay 7mSec delay. Then intentionally offsetting the Upperbass it is possible to make the Midbass to sound… differently. How much to offset Upperbass – imposable to say as very many thighs had to be considered (types of horns, crossovers, loadings, room, distances, refractions and summations etc, etc, etc…). It juts need to be heard and tuned by ears to make it to sound in the way how one feel it shall sound.

I still in favorer of absolute time alignment but with 3m-5m horns not a lot of people can consider it as a realistic possibility. The DD might be a good direction to experiment and Klaus and Reinhardt setup is a perfect playground for this.

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