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Romy,

Thanks for the thoughtful writing... Sorry my response is not exactly "time-aligned"... I've been meaning to reply for the past few days, but my other life has been in the way...

Romy's quotes in blue :

In  a few month, after you installed your 6-chenals, power it -  is the most interesting, the most complex and the most thrilling things will take place – you would need from an array of “frequencies pushing channels” to teach your acoustic system to play sound PROPERLY.

This is a moment I have been anticipating for a long time, and will address it as sincerely as possible; taking no shortcuts... It is the reason I designed so much versatility into the horn locating frame and into the horn making process.

Unfortunately this step, the most important step among all, is not just undermined by the Morons out there but even the discussing the methods that might be used to do so is a semi-banned subject among the most audio people.

Yes... Things might be different if there were a manufacturer that squarely addressed these issues while at the same time educating his elected communicators (his distributors and the press), and then built a comprehensive data base (a web address) that skillfully educated potentially interested customers in terms they could easily grasp. This may in fact already exist, but if so, it is the super-rare exception.

That all might eventually bring you to a very complex question: how you would like Sound to be…. and ultimately it might lead you to the biggest subject of the entire audio: who we are. It might take a year or two to learn experiencing and reacting to the needs and capacity of your “6-chennals”. During that time the evolution of your “6-chennals” will follow the substance of your personality and depth of your musical/sonic interests.

I believe that any serious audio installation will absolutely reflect the character of the user.

What would be the most interesting is that you might discover that you do not need to know a lot of technical things in order to “know” them. Some purely technical aspects will become an organic extension of your sonic interests.

Instinct and intuition are my main tools. Developing them (and my confidence in them) is the result of their continued use. Both are in fact based on technical experience and the ability to project and extrapolate from it and from that of other domains.

Do not be surprised if at that time you might loose any interest to a cookie-cutter audio industry’s offering.

Well this weekend a buyer came for the speakers of my previous life. I had kept them until now as a reference. I have owned them for eight years in 4 locations; I know their performance very well... They have been one of few audio devices that I would consider educational in a long-term sense. I would not have sold them so early if they had not been so clearly dwarfed by the indicated potential of this project.

You might feel then that if a person does not practice his own “tailored sound” (and it has NOTHING to do with DIY movement) then the person does not deserve your audio interest

The typically-primitive audio people conduct random events and then talk about consequences

By comparison to the rest of society, I have observed that people who "do audio", are in general quite intelligent, articulate, and literate... Those who spend big money continually swapping components do what they do, knowing deep down that they are playing a game of chance, but they do have the cash and they do get some satisfaction (sometimes even sonically speaking) from this game. They frequently cannot defend their actions on logical grounds, but can easily afford to go on this way. Because they are otherwise intelligent, it is normal that they become emotional when asked to defend their illogic... Though it is kind of moronic, I find it human. They may even believe they have found absolute truth in audio... There are worse things to do with one's cash and time. I am however convinced that if given the chance to have their ears pointed in a more right direction, these people would take the event very seriously... It is a question of exposure. For now, they are trying to make sense of a lack of information. The sort of exposure that might help is not easily organized. I believe that in sound reproduction, any person can naturally recognize large-scale right from wrong, if presented with something that is more or less right...

My opinion is that there is simply a lack of "right" out there. This leaves those who "do audio" to extract "audio truth" from what is a pre-polluted base... Basically, subtly varying levels of what is in any case fundamentally wrong... Imagine the objective in Audio were to produce pure yellow (a primary color)... Its like we have been presented with a short cut to simulate pure yellow, which involves starting with brown and adding copious amounts of "negative violet" (violet being the compliment or opposite of yellow). And so rather than being subjected to varying levels of rightness, we get varying levels in the quality of the disguise which masks a nevertheless perverted origin.

Interestingly that at this point you might discover a completely new definition of the very common audio words: resolution, soundstage, imaging and the similar, however, then those words will have absolutely DIFFERENT meaning then for other people and you will push completely different buttons to get your new understanding of “resolution” or “imaging”.

You might discover a new ways to think and to talk about acoustic systems, or about audio generally

I have always been very uncomfortable using (or processing) "the accepted" audio vocabulary and perceptions... I think it has to do with a general dislike for code-heavy communication (all codes, including visual)... When forced to adopt too much code that is foreign to my own constitution my body starts leaking acid. This has been a source of unimaginable problems since birth! On the other hand, I admit that I can't resist employing these codes in a humorous context!

jd*

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