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de Charlus, this “are not afraid of cabinet resonance per se” is complicated subject. I have raised the topic in the “How to USE “Resonating Oops” in loudspeakers” thread:

http://www.goodsoundclub.com/LatestPosts.aspx?ThreadID=3833

It looks like it “works” in one instance and does not work in other. The key in this that if one does embrace the “Resonating Oops” then it need to be done in the way that the Resonating does not manifest itself across all music as some kind of un-necessary common denominator. How to do it - I have no idea. With all my experiments I did not go for Resonating but “invented” active Injection, it sounds kind of contra-intuitive but in my case it does work phenomenally and I do not even think to use Macondo today without the injection. I need to mention that to use the “cabinet resonance” has kind of different effect then my Injection Channel. The Injection alter chromatic expressivity but Resonating more act in transients overriding. The mechanical transients that come from cabinet are very different then what we can produce from drivers and I presume that if it done properly it might be very interesting. The reasons why I mention it together is because when chromatic injection is done properly it feels like “mechanical transients”. This would unbelievable to anybody who not experimented with this, I did and I can testify that it works for some reason. When you colorize properly the first violins for instance (not in the ugly way how color Hi-Fi uselessly doe by flooding first violins with colorations but I am taking about deliberate, purposeful and measurable coloring) then the violins start to have that “rosin bite”. It is very interesting: you do not change texture of sound but juts slightly tint the chromatics but as a result you have feeling of the texture change.  The when same goes for upper bas where cello and bassoons operate – you just add slight touch of chromatic softness in second harmonics and in result you has more resonant and way more palatable sound.

I need to say that in my mind one of the primary reason why Vox Olympian might have that “Resonating Oops” (I do not know if they do as I never heard them) is because they use an amassing 15 driver and because the topology of their midbass -upper-bass is the one that allow them to use it. I need to admit that the topology of the Vox Olympian’s upperbass is not the one that I would advocate. However, the midbass driver that Living Voice use in that upperbass is an animal on it’s own. People have no idea what this driver is capable off, I do. The first time I heard it was in 2001. It was the mid of the nigh in Vegas, with the installation that was set up but was not demonstrated at CES. The topology was corner-loaded horn and the setting for midbass -upper-bass was accidently was perfect in that room. It was absolutely stunning midbass -upper-bass, I was literally flabbergasted as I never heard anything similar from audio. The very first things I did was running and buying the pair of AK 151 drivers. As I got them home and connected them just as they laid on the floor I heard the same stunning upper-bass. None of the common hoi-polloi crap even remotely able to shine with those colors. So, the Vox Olympian uses the same driver but they presumably enclosed it in light resonating stricture. It is highly possible that if they use some kind of, Eminence, Celestion TAD, B&C, JBL or Altec then they would have just a resonating boxes. The Vitavox might made it very much different and dispute the fact that Living Voice insisted that the “secret” is in the unique resonating enclosure but the reality is that the “secret” in the 15” driver that they use. I use the Vitavox 15 incher in my midbass but I do not have that “free breathe” with my midbass topology. I have some spare 15 inchers and thought to make a semi-direct resonator with them but the overall Macondo topology does not have a need for that channel. This is incredibly interesting subject to look into however as it is always good to experiment with gourmet cooking if you have “serious” raw ingredients…

Thanks, for your offer to “help” with London. I think I will be fine. My wife is absolutely crazy about London and she was there many times, in fact London is her the most beloved place in world. This means a lot as I hardly know a county what she did not spend time. So, I will be depending upon her guidance. It might be fun to have a listening session and some kind of talk with audio Londoners and to see if we could pickups the “small differences” between UK and US perception. Brits pronounce “Herbs” with “H” while in US “H” is silent and sound more like “Erbs”, I wonder if we could discover something similar in audio?

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