Holographic imaging

Not to beat this thread to death (probably too late for that ;-) ) but to me, soundstage and imaging are what happen between and sometimes to the right and left of right and left speakers, respectively (as in, "Those speakers throw a huge soundstage)" whereas "holographic" refers to the sense that sounds and instruments are "out in the room" closer to you than the plane of the speakers.

How much of this is about the speaker and how much is about deliberate or inadvertent artifacts of the recording process I don't know.

I just picked up a copy of "When I Look Into Your Eyes" by Diana Krall. On one of the first two cuts (can't remember right now) there's a piano entrance that eerily seems to envelop the listener all around the listening position. I don't know if it's "realistic," but it's impressive and in my book, "holographic."

YMMV, as they say.

09-18-08: Rebbi
... to me, soundstage and imaging are what happen between and sometimes to the right and left of right and left speakers...whereas "holographic" refers to the sense that sounds and instruments are "out in the room" closer to you than the plane of the speakers.

This is how I view the concept of audio holography as well. It's the projection of the image into the room that creates the 3D effect.

I've heard this only with tube amps and cone speakers in my system.

Rebbi, Regarding your comments about the frontal plane of the sound v the frontal plane of the speakers, and Tvad re your view supporting Rebbi's definition of 'holography', in my limited experience I have found that putting sound out in front of the plane of the speakers is more related to speaker design (I have only experienced this phenom with a horn/cone hybrid and it a general soundfield attached to most recordings. But it was facinating especially with that old Carver 9 holograpy machine in the loop).

But I have only heard 'holography' (my version) with cones and a few recordings, but I haven't heard horns in many years - certainly not since I developed a lot more sophistication about this process. Wish I had those old horns back so I could listen to see if they would sound better than cone drivers in this respect.

Oh well, too much too doo about seeing rare birds. :-)

" I have found that putting sound out in front of the plane of the speakers is more related to speaker design (I have only experienced this phenom with a horn/cone hybrid and it a general soundfield attached to most recordings. But it was fascinating especially with that old Carver 9 holograpy machine in the loop). "

I have heard it to a huge extent recently in a dealer showroom using Krell 400xi integrated driving either Martin Logan electrostats or Focal dynamic/cone designs. Which speaker made little difference.

I think it had something to do largely with room acoustics as well, in other words, the portion of the room behind and to the sides of me was "hot" or very lively in relation to the area behind the speaks.

Yes, it is the recording, the rig, the room, the speakers, their placement, state of the power, even the weather and last not least our ears and what is between them. Which does what is devilishly difficult to pinpoint and the more experienced you are the more unsure you become. Just like real life, ain't it? (: