Wilson Audio Haters

@cleeds I didn’t think it was confusing to call a single stereo mic (not mike) a single mic recording. I think maybe you had single mic and mono mic meshed in your mind..
The main point was that a single point for recording sound can lend a more accurate soundstage than multiple mics, where the soundstage is then dependent on the mastering session.

"Mike vs mic". Now that is an appropriate correction, Todd. Thank you.

Dave

I’m obviously focusing on the important matters!

Give a guy a few minutes to finalize his post, jeez!

One thing that is and always will be an inherent limitation of past and current stereo recording/playback technology is directionality, since a MIC (thanks Todd) can’t discern the difference of direction. As a result, the clapping of the crowd on a live recording will always sound as if the crowd is behind the performers, unless the crowd is recorded with a different mic(s) and mixed/mastered correctly. I have never heard a live recording done this way.

That implies that some of the ambience information (reflections from the walls/objects of the venue) captured from the "front side" of the mic is being incorrectly reproduced as being part of the ambient information of the opposite side. Ultimately, this may be the final limitation of making our two channel systems suspend disbelief. Thus the (largely unfulfilled IMO) promise of multi-channel audio technology.

Dave

I sold Avalon for over 6 years of time. I also sold it to friends of mine. But....there is a big but.

Avalon can create good stage depth and width, but is very limited in individual focus of instruments and voices. This is also an essential part for realistic tangible and intimate focus.

This I learned at my friends house were he gave classical concerts. He also owned 3 pairs of Avalon loudspeakers. When I brought a pair of Monitor Audio Pl200 version 1 to his house it blew the Avalons away on each part. Even in stage depth it outperformed the Avalon speakers.

He also plays now with the Pl-200 version 1. All Avalon speakers are not able to create a 3D form of an instrument. This is an important part of realism in sound.

Monitor Audio was the first brand I found who was able to create a stunning deep and wide stage (wider and deeper than both Wilson and Avalon) and is also able to give the same level of intimate tangible focus of instruments and voices as in real.

The new Platinum series II adds diversity in height at a stunning level we never auditioned before. The other stunning part is that the AMT also can create a sound field in front of the loudspeakers.

This is a stunning holographic stage what brings you to the space of the recording.

Each single part of Tru-Fi I can focus on and I can adapt it. Beside this I did research in electricity, smog, magenetism, diversity in sound and high-frequency noise.

Now I understand how they influence the sound and I have many options to improve the sound. All the parts influences also the sound stage.

You need to understand all different parts on which sound contains and all the different parts what influences the sound and quality of it. Most people have no idea how much quality they loose based on the fact that they don’t understand what I just told.

You can spend 1 million on audio, but you will only be able to use a very small part of the ’real’ quality. Money will not solve it or create a superior sound.

That is why I learned to understand each part. And that is why I have done thousands of tests. Perfectionism means there it no room for error. This process never stops.

There is 1 thing I can garantee to each single person overhere, a 3-dimensional physical tangible stage with a stunning diversity in sound will make listening to music so addictive. This makes you want listening to music on and on.

That is why I will never sell any kind of 2-dimensional sound again in my life. Because for each single person it will be never appealing for a long period of time. This is based on the human emotion. That is why Tru-Fi is based on the human emotion.