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In the Forum: Horn-Loaded Speakers
In the Thread: Macondo 2.0?

Post Subject: EVENTIALY, I think now I can now to identify THATPosted by Romy the Cat on: 11/20/2022

rowuk wrote:
As pitch increases, the palette of color decreases.

Ok, I think I begin to understand the key to the attraction that I experienced last September. I literally took me over a year, and the conclusion is certainly not a definitive answer by rather my working hypostasis. This is a way a radical idea and I would like to tackle it with Macondo 2.0. It is bit “other” perspective open you mind and follow me. Let me to explain

Let forget anything we know about audio and analyze the events of the last year ONLY from the perspective of distribution of palette across the range.

With a single Tannoy Red I never found sound attractive. It is beautifully colorful, but it is so radioactively painted with van Gogh type of colors that it truly destroys music and makes me to feel uncomfortable with what I hear. Plus is has no dynamic range and everything looks like it is painted on cardboard.

Then the “ingenious” Romy the Cat put the Sunspeak passive radiator to the bottom of Red Driver. With all understood audio benefits that the change resulted, I think what escaped me was the fact that I accidently created am active mechanism of none-linear color suspension. Atop of the range the Red was free to do what it doers but as the range does down the colors in Dannoy become more and more reduced by the Sunspeak suspension. It kind of become a mechanical colors damper and that was what I was super hypnotizes with. I am trying to look in my memory and to focus to this specific element of the sound I heard last September and it “feels right”.

So, let postulate that there is a “secretive pattern” that the most suitable for our perception of sound that indicates how colors should be distributed across the range. We do not know pattern, but it very much factored in the musical interments humanity has developed to itself, the history of harmonies, the performing and composing techniques, the way how our hearing is organized, etc… Yes, the pitch increases, the palette of color decreases, it is expected but the more Sound resists to do it (would it be in both music or audio) the more communicative we found should is. Our brain accustomed that as pitch go up that sound become less complex but if by the efforts of playback, or a musician or a singer sound with going up still demonstrate unexpected colors then it acts as a hypnotizing force to a listener.

I “discovered” it long time agon but until very recently I did not put it together with audio expressionism. For instance, I for years was hypnotized what British Chris Barber does with his band. It is not my type of music, but I experience a strange attraction to the way how they use colors seems disrespectful to range. Or another example the very contemporary Dimash. With all wonders that he does vocally and artistically I feel that as he goes up, he reminds me Macondo: drama derives from supper impressive accuracy but not from expressed complexity. But look what he does in the end of the end of the Sinful Passion, he overlays his upper voice with pedal point by chorus which all together enrich drama.

I would like to mimic this pattern with Macondo 2.0. The idea is to have two mid-range drivers with different tonal characteristics and to give different drivers different prominence contingent upon range and rate of acceleration. Of course, all of it should be done in context of absolute face linearity. I do not know in this point if I will be able go away only with mechanical means or need experiment with active electronic attenuation. that all remind me ironically old Ed Meitner IDAT algorism when Meitner used type of DA conversions for slow and fast sounds only in my case it will be pitch and loudness dependent. I do not know how to do it yet but the is the objective.

I cannot describe it but I very much invasion how the result should sound like. Forget whatever we know about audio and forget that we all feel that quality derives from quality of transients’ reproduction. What I propose is that quality is not about of recognition of transient but maintaining some mysterious balance between expressivity of transients across the tonal and dynamic range. It is very loaded task and I do not know how to go there yet but I am not wiling to give up what I heard the last September and I would like my Macondo to be able to do THAT.

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