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I am curious about the OB presentation and why some think it's the be all / end all. And I have stated I haven't heard it myself. I have also been quite clear on why I posted this to begin with; I am curious about how this type of speaker would seem to be adding to, or changing the original recording much like the Bose speaker does /did. I hope that's ok with you?
The subject of your post goes a long way toward supporting the inference that you are in fact trolling. If this isn't your intent, why not simply go listen to a set of true dipole speakers and let all of us know what you think about how they sound to you? Surely you must either know someone who owns a set of Magneplanars or have a dealer nearby that would be willing to demo them for you.
In a very good concert hall, sound comes from the musicians, not from all around you. And if a recording is made with only two mics, then what? I would assume recording engineers record music based on the fact with the fact in mind that most music is played back in stereo, with two speakers. Two BOX speakers.
In fact the audience is in the "reverberant field" under concert hall conditions. The reverberant field starts when the direct/reflected ratio passes the 50/50 point. This typically happens around the first row in a concert hall.Two mics are capable of providing not only stereo, but also real ambiance, if the pair are crossed figure of eights, as in Blumlein recordings. This can be easily and economically decoded to send to rear speakers by any device using the Hafler surround technique or Dolby "Pro Logic".I had the feeling you were trolling from your first reply, just looking to stir a little ****.
Actually, I'm so happy that Trismos started this thread. I've seen the error of my ways and I now know that my OB speakers can never be "correct", so if anyone wants a great deal on a pair of V2's, please contact me!
In fact the audience is in the "reverberant field" under concert hall conditions. The reverberant field starts when the direct/reflected ratio passes the 50/50 point. This typically happens around the first row in a concert hall.
i don't think, trismos, you are trolling, but i do agree you should go hear ob and/or dipole speakers yourself. while i have found the discourse here to be most interesting, the truth is in the tasting, or in this case, the hearing. you (and everyone) need to decide for themselves.when i was a kid, i was into audio even then. i read stereo rewiew and was greatly impressed by the direct/reflected sound thing, and was blown away by the big "wall of sound", so i saved up my money from gifts and paper route job and bought a brand-new pair of bose 901's at the ripe old age of 13. i had them many years; got much better sound out of them after college, when i got a spectrum analyzer/pink noise generator/eq - i was amazed how "un-flat" they really were. \/\/ was the basic pattern the eq controls took to get flat response, regardless of what room they were in... the improvement in detail was excellent...it wasn't until 1985, when i discovered tas and s'phile and thiel 3.0's that i realized what a proper illusion of a soundstage in the home could really sound like. (notice i use the term "illusion". ) since then, i have heard quite a few different dipole speakers, and i never liked the presentation... others obviously, think they're "it". everyone really needs to decide for themselves.trismos, if you really cannot listen to any ob and/or dipole speakers out there in yellowknife, you're gonna have to bite the bullet and either buy something used, or, as you say you want to do - diy, and hear for yourself. i'd be reluctant to be spending lotsa money w/o at least being able to hear something first, so you don't take a big financial hit if they are not your cuppa. doug s.
This would not be something said by just anyone. I am interested to hear more Russell.
On most stages that I have been on, the sound has a lot of live ambiance to it. Listening to simple stage recordings, which are more common with Classical music, I find that on box speakers that aliveness is lost. I played some Classical recordings on the Philharmonic 2s and it sounded more like I was on the stage with the orchestra than any other speaker that I have heard. They created the illusion of total reality. I have heard most of the speakers out there. That was the only time that I experienced that effect. The Philharmonics are pseudo open baffle speakers.Bob
How did you come to know this Tyson? It was certainly nothing I said. V2's? How much?
Since they're so terrible, you should give them away. To me.
Anechoic space? Yes, no time delayed distortions, more accurate, but I believe that double blind trials conducted by Toole, as I think is generally known, have shown that some “liveness” contributed by the listening room is most definitely preferred. i.e. music is enjoyed more, even if it is not a true account of the signal coming from the speakers. It is not a chore.
Anechoic space? Yes, no time delayed distortions, more accurate, but I believe that double blind trials conducted by Toole, as I think is generally known, have shown that some “liveness” contributed by the listening room is most definitely preferred. i.e. music is enjoyed more, even if it is not a true account of the signal coming from the speakers. It is not a chore.This is preference again, it all seems to come down to preference, but I’ve never heard a heavily treated listening room with considerable absorption sound good at all, even though “technically” the sound might be more accurately perceived. In fact I feel uncomfortable in that sort of room.Geddes’ (not that he’s the world authority on everything!) position is also that liveness is necessary, but reflections should be under some sort of control.Maybe it’s that OBs can provide suitable control for some music lovers preferences (as opposed to the accuracy needed when mastering).David
