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peter foster wrote:

3) A stereo recording of a beautiful piece of music that is well played but where the soundstage is imperfect.

The subject of my “hate of Soundstage” is well known and documented for years, including this site. I was vocal and persistent Soundstage (as it sold to audio people) abolishener years ago at AA, from where the reviews-writing-idiots  took my context, wrapped it  into their typical epistolary-nothingness and then were selling my anti-Soundstage propaganda to the Audio-Morons as “the new wave” of audio marketing.  I well knew it and I played my little game with the subject: I did not tell “everything” and I intentionally imbedded some “mistakes” in some of my keys pointers. All of the “industry new views” were published with my original “mistakes”. Do you remember the wave audio revivers in 2002 that “suddenly” degraded the value of soundstage? Be advised that they took place after very large and extended debate by me the subject at AA and then, in whole topic were deleted from AA … 2 moths after it was deleted from archives and the fragments from there made to publications, right along with imbedded “mistakes”.  (I mention it not because my ego, at least not because the only my ego but rather because to have a pleasure to point out one more time the primitivism and  impotency of the official audio)

Yes, the Soundstage is not the property of live music but explicitly the property of sound reproduction efforts but there is a LOT more to it. Although Soundstage is a nice “trick” (deep, wide the geometry) but there is more important moment then de facto Soundstage. There is also spatial discrimination between the implicit center of transient pitch and the way how the space outside of the pitch’s source reacts to the pitch.  This moment do not directly relates to Soundstage but it is modifies the Soundstage values. A Soundstage might be big but “dead”, with the “near spaces” do not react properly to own transient irritations. A Soundstage might be flat and narrow but if the “near space” is set properly then the flat would not bother a listener, unless he is an Audio Moron who instead of listening runs across a room with measuring tape, assessing the dimensions of the bogus Soundstage. The proper reaction of the “near space” affect the inner-dynamics of imaging and it is way more important factors then the geometry of Soundstage. BTW, Soundstage does not exist in real world but the “near spaces” reaction does. Did you ever have experience to monitor how good quality playback sound outside during a nice sunny summer vs. a few minutes before rainstorm. If you do then you will know what I mean what I say “near space reactance”…. If you want to stady this subje in audio then get yours an old Lamm L1/L2 preamp – you will learn a lot.

So, what is the more interesting in the results of  K-Stereo unit  would be to learn if it deals with spatial reconstruction via making Soundstage “bigger” or if interfere with imaging at the level of the “near space’s  inner-dynamics”.

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