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slowmotion wrote:

But his aproach to designing horns is interesting

Does his “interesting designing approach” include the designing the “interesting horns” and then to correct their problems with digital correction devised. Is he the very same guy who infected France with those moronic digital crossover and the room correction devises that meant to be used for DJ’s pleasure.

You see, if even to disregard the fundamental intrinsic problem of the digital equalization and DSP and for a second pretend that AD conversion, loosing the byte at stop-band, and consequential DA conversion are completely transparent and audible then still there is something else that all those digital minded kind do not get: each individual driver in each individual enclosure has own need that should be recognized, embraced and nurtured.

A person who corrects problem on digital domain has not feedback for the driver natural abilities and he does not embrace the reason but rather fix the consequences. It would be similar to a person who does fishing. This person, holding the fish-line in his hand, can detect how the fish each the bate fat the hooks and he could estimate the fish behavior. Contrary to this a person, who goes fishing with dynamite, might in fact to catch mode dead fish, but he is completely made himself clueless about the fish behavior and habit. Soon of later this person unavoidable begin to explode his dynamite at the places where fish does not live.

Anyhow, I personally could testify that I NEVER ever heard any playback installation where digital correctors used and where sound was even remotely interesting. In those DSPed rooms there is no Sound but just the present of phases and frequencies. This is why I do not take seriously absolutely nothing if it comes from the people who are in denial and who hide this awareness begin the digital condom. Not to mention that even without imposing any correction and juts in bypassing the signal most of those digital DJt oys are severally un-transparent.

Rgs,
The Cat

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