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In the Forum: Horn-Loaded Speakers
In the Thread: Macondo’s lowest channel.
Post Subject: Patent GB 394,325. "Transmitting, recording, and reproducing music..."Posted by oxric on: 3/13/2011
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Robert,

Many thanks for the clear exposition of the technicalities to consider in making what is on the face of it such a simple choice.

I however disagree that the points being considered here, as both you and Romy seem to suggest, only ought to be considered, 'if ever,' after an evolved system of audio reproduction should be in play. Discounting the fact that it implies that my present system is not 'well-developed,' I still think that a complete novice has something to gain by such considerations. Not having ever owned a horn-loaded loudspeaker system, I am able to consider such possibilities as having one bigger or two smaller horns at an early stage, and this cannot be a bad thing and might enable me to keep open opportunities that I might have rendered unachievable by other infelicitous choices in the meantime. With the number of variables that goes into the design of such a playback, I have to the utmost faith in the ability of the intellect to process the information, and steer one's course towards an ultimately satisfying playback. 

 RF at Ona wrote:

By the way, this is an old technique. Alan Blumlein used a variant in one part of his original patent on stereo. He used specially wound transformers to create the sum/difference signals. Today we use op-amps or circuits with differential stages like a Darlington (long-tailed) pair.



For the small story, I have lived in Hayes at a time, which is where Alan Dower Blumlein lived in the early 30s with his wife, and where he came up with the ideas that eventually gave us stereo as per patent GB 394,325. He was 28 at the time and two years earlier had already invented  the moving-coil disc cutting head, but would die within 10 years.  I have read the patent, with which I cannot say that I was previously familiar, and am baffled that at a time when stereo was not even born, he considers therein issues which form the basis of still ongoing debate and unresolved issues 80 years on.

http://v3.espacenet.com/publicationDetails/biblio?CC=GB&NR=394325&KC=&FT=E


What an awe-inspiring mind!

 RF at Ona wrote:

...I have experienced the beneficial effects of deep bass reproduction and as Romy and others have indicated even without music the awareness of the acoustical space is enhanced. These experiences involved reproduction of the subaudible signal at the same level as the audible bandwidth so Romy’s technique of hyper-elevating the subaudible is new to me.



Given what I said before, I can only agree with this. However, I have read further prompted by the reference to Alan Blumlein, into ideas such as crosstalk and the views of Richard Brice, who was behind the now discontinued Francinstien, see some very interesting reading below,

http://www.richardbrice.net/franci.htm

I think that Romy, who being Romy, does not care about what anyone thinks, is addressing some of these fundamental issues in his own inimitable style without compromising other aspects of his playback that he values enormously.

Regards
Rakesh

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