Talk but not walk?

Hi Glupson

With anything it takes a few generations to go from hand adjustments to auto tune. But it's on it's way when listeners are ready. Might not happen in my lifetime but I've already designed the automated tunable room and system. I'm sure I'm not alone in this development. I can't imagine younger minds who have tuned are not already thinking how to incorporate what I have done into the next level. There aren't that many dots to connect when you look at auto-tuning for musical instruments.

With the HEA generation the stalling point was when they took a detour away from adjustability, but as you can see that is quickly being reversed. Sometimes old school doesn't meet new school till an innovation is well into the mainstream. I personally enjoy doing the adjustments by hand much like a musician enjoys playing their instrument, and tuning that instrument to a room and other musical instruments. For HEA though the whole plug & play thing was so heavily pounded into the brains of listeners for so long and with such a cult like loyalty the mere mention of anything variable took away from their climb to the top of the marketing food chain.

Tuning was always going to be the end game when it comes to music and electronics, but when you have a hobby that was so strong with personality types such as the EE generation produced, where numbers are God, you can see where the hold up happened and why. Think about it, we had a whole generation in this hobby who put measurement creating above listening.  Numbers are a tool but they are not a note being interpreted by the human brain and senses.

mg

I did a session at a studio in (coincidently) Studio City (in the San Fernando Valley, just over the Hollywood Hills from L.A.) and the engineer instructed me on where he wanted the drumset. That location happened to put the drum throne about 3’ from a cinder block wall, with my back to the wall. After the first "keeper" take the players went into the control room to have a listen, and I was shocked at how bad the drums sounded. All phasey and "discombobulated", the drums lacking body and tone, the cymbals way too "splashy" (they were very nice sounding Paiste 602’s).

While the engineer reconsidering his mic choices, it occurred to me, based on my awareness of comb-filtering, that the cinder block wall might be the problem. I suggested I move the drumset further away from the wall, and the engineer, though dubious, obliged me. We did another take, and went in to listen. Problem solved! Audiophiles know wall reflections can greatly affect the sound heard in a listening room, but this recording engineer wasn’t aware that the cinder block wall would affect the sound of a drumset? How many recordings had he made with drums in that location?!

At a different session (in Hollywood) a young engineer had set up the main mics, and was now considering where to place his "room" mics. When he stuck one right in the corner where two walls and the ceiling met, I knew the guy had no education in acoustical engineering. The corners, the worst sounding location in any room! I said nothing (you don’t want to get on the bad side of your engineer), and we did a take. Listening to the playback, with the corner-located room mic isolated (the engineer wanted to show-off his talents ;-), the sound was just horrid, like a speaker playing in a 50 gallon metal barrel! Instead of being proud, the engineer was embarrassed; he had revealed his ignorance of basic acoustic theory and the physics of sound. Learning on the job.

As an addendum to my above comments about the spacing of planars from the wall behind them, 5’ or more is no guarantee that the resulting sound will be good. In 2018 I attended the U.S.A. premiere of the new Magneplanar MG30.7 at a retail location (Echo Audio in Portland Oregon), with Wendell Diller himself having set up the speakers. The 30.7’s were quite a distance from the wall behind them---about 8’, though the bass panels were only a foot or so from the side walls. The sound was surprisingly disappointing to me (I own Tympani T-IVa’s, of which the 30.7 is a reinvention).

I don’t want to say any more about the sound, as the digital-only source material (streamed?) was accessed from a handheld remote controlled by the shop owner, almost all of it previously unheard by myself. The electronics were also unknown to me, and the room itself was completely untreated---absolutely no acoustic treatment. The room was constructed of what appeared to be cement, all the walls bare and very reflective, including of course those behind the speakers. Ridiculous!