Neutral electronics are a farce...

Roger wrote,

"geoffkait,

You are really an ok guy and I would love to tell you what i’m doing that involves (you know what) but nah....

If I did tell you - you would actually agree with me and we would be on the same page.

I think I have said too much already.
I have too much legal stuff going on right now.
I hope you understand."

Oh, I understand, all right. :-)

Looking on the positive side of all of this at least you didn’t say if you told me you’d have to kill me. Good luck with all the legal stuff. Wink wink

Your quantum bro',

Geoff Kait
machina dynamica
advanced audio conceits

Just a note about "things in the actual world," my stepson's Cambridge MA based company developed systems to pull conversations out of loud environments, and won an Emmy for it (it had been utilized in the "Most Dangerous Catch" series). Smart kids over there. Secret pseudo science claims for items producing audio nirvana waste everybody's time…talk to people who do the real work as they're much more interesting.

Wolfman, that’s rather interesting. And right on cue. That’s actually the field I worked in for quite some time. That was 36 years ago. Would you believe Hedy Lamarr (yes, the glamorous actress) was the inventor of spread spectrum communications? You know, WWII.

Wolf_garcia,

Secret pseudo science claims for items producing audio nirvana waste everybody's time…

I could not agree more.

There were a plethora of attempts by various designers (and big corporations) to generate “lifelike 3D sound”  from the Carver Sonic Hologram Generator to the “signal completion” gadget.

Here is an interest fact:

All of those efforts (100%) were/are basically “parlor tricks” aimed at making the listener think that somehow a sound [object] has magically appeared to render itself in your listening room and sometimes coming from a side wall or even behind you. Those can be lots of fun.

Here is another fact:

My work is the exact opposite. A total of (0%) manipulation takes place in the amplifying process. By default it produces sound [objects] that appear to be in mid-air and are located (placed) back into their relative locations using the embedded information captured in the original venue. It does this effortlessly and with massive precision and focus.

Roger

A total of (0%) manipulation takes place in the amplifying process. By default it produces sound [objects] that appear to be in mid-air and are located (placed) back into their relative locations using the embedded information captured in the original venue.

Our stuff does that too! No matter how complex the material is, the soundstage image stays absolutely **locked** in place, perfectly focused. The volume control only changes the overall size.

Blumlein developed the concept back in the 1930s.