Now that weird science movie theme song (which I like) will be going through my head whenever we start talking about phone books and such.... I will try to control myself.....
What Does Holographic Sound Like?
And how do you get there? This is an interesting question. I have finally arrived at a very satisfying level of holography in my system. But it has taken a lot of time, effort and money to get there. I wish there had been a faster, easier and less expensive way to get there. But I never found one.
Can you get to a high level of holography in your system with one pair of interconnects and one pair of speaker wires? I don't believe so. I run cables in series. I never found one pair of interconnects and speaker wires that would achieve what has taken a heck of a lot of wires and "tweaks" to achieve. Let alone all the power cords that I run in series. Although I have found one special cable that has enabled the system to reach a very high level of holography -- HiDiamond -- I still need to run cables in series for the sound to be at its holographic best.
There are many levels of holography. Each level is built incrementally with the addition of one more wire and one more "tweak". I have a lot of wires and "tweaks" in my system. Each cable and each "tweak" has added another level to the holography. Just when I thought things could not get any better -- which has happened many times -- the addition of one more cable or "tweak" enabled the system to reach a higher level yet.
Will one "loom" do the job. I never found that special "loom". To achieve the best effects I have combined cables from Synergistic Research, Bybee, ASI Liveline, Cardas, Supra and HiDiamond -- with "tweaks" too numerous to mention but featuring Bybee products and a variety of other products, many of which have the word "quantum" in their description.
The effort to arrive at this point with my system has been two-fold. Firstly, finding the right cables and "tweaks" for the system. Secondly, finding where to place them in the system for the best effects -- a process of trial and error. A lot of cables and "tweaks" had to be sold off in the process. I put "tweaks" in quotation marks because the best "tweaks" in my system have had as profound effect as the components on the sound. The same for the best of the cables, as well. For me, cables and "tweaks" are components.
Have I finally "arrived"? I have just about arrived at the best level that I can expect within my budget -- there are a couple of items on the way. In any case, I assume there are many levels beyond what my system has arrived at. But since I'll never get there I am sitting back and enjoying the music in the blissful recognition that I don't know what I am missing.
I should mention that there are many elements that are as important as holography for the sound to be satisfying, IMO. They include detail, transparency, coherence, tonality, and dynamics, among others. My system has all of these elements in good measure.
Have you had success with holographic sound in your system? If so, how did you get there?
Can you get to a high level of holography in your system with one pair of interconnects and one pair of speaker wires? I don't believe so. I run cables in series. I never found one pair of interconnects and speaker wires that would achieve what has taken a heck of a lot of wires and "tweaks" to achieve. Let alone all the power cords that I run in series. Although I have found one special cable that has enabled the system to reach a very high level of holography -- HiDiamond -- I still need to run cables in series for the sound to be at its holographic best.
There are many levels of holography. Each level is built incrementally with the addition of one more wire and one more "tweak". I have a lot of wires and "tweaks" in my system. Each cable and each "tweak" has added another level to the holography. Just when I thought things could not get any better -- which has happened many times -- the addition of one more cable or "tweak" enabled the system to reach a higher level yet.
Will one "loom" do the job. I never found that special "loom". To achieve the best effects I have combined cables from Synergistic Research, Bybee, ASI Liveline, Cardas, Supra and HiDiamond -- with "tweaks" too numerous to mention but featuring Bybee products and a variety of other products, many of which have the word "quantum" in their description.
The effort to arrive at this point with my system has been two-fold. Firstly, finding the right cables and "tweaks" for the system. Secondly, finding where to place them in the system for the best effects -- a process of trial and error. A lot of cables and "tweaks" had to be sold off in the process. I put "tweaks" in quotation marks because the best "tweaks" in my system have had as profound effect as the components on the sound. The same for the best of the cables, as well. For me, cables and "tweaks" are components.
Have I finally "arrived"? I have just about arrived at the best level that I can expect within my budget -- there are a couple of items on the way. In any case, I assume there are many levels beyond what my system has arrived at. But since I'll never get there I am sitting back and enjoying the music in the blissful recognition that I don't know what I am missing.
I should mention that there are many elements that are as important as holography for the sound to be satisfying, IMO. They include detail, transparency, coherence, tonality, and dynamics, among others. My system has all of these elements in good measure.
Have you had success with holographic sound in your system? If so, how did you get there?
- ...
- 483 posts total
Bryoncunningham, The question of what creates sound stage is an interesting one. In an open-air concert the sound does not come from all directions. It comes primarily from the amplification system used by the performers. In enclosed spaces like studios and concert halls reflected sound comes into play. All recordings contain the ambient cues for the venue where the performance took place. Better quality recordings contain more of this information. The better the audio system the more ambient cues can be retrieved and reassembled to create a more pleasing sound stage. By more pleasing I mean a holographic sound stage that produces more of that sense of "being there". I believe that "realism" is the most difficult thing for a sound system to reproduce. Which is why I have spent so much time, effort and money on cables and tweaks. The right combination can yield stunning results. |
10-05-12: SabaiHi Sabai - I think we are more or less in agreement. To clarify my views, here are some comments I made on the "They are here" vs. "You are there" thread... ________________________________ Ambient cues provide information about features of a physical space like: size, shape, materials, and object position. Every listening room contains an abundance of ambient cues. The specific characteristics of those ambient cues are relevant to the audiophile, for the following reason: During playback, the ambient cues of the recording space are COMBINED with the ambient cues of the listening space. The combination of the ambient cues of the recording space with the ambient cues of the listening space creates, in effect, a NEW SET OF AMBIENT CUES. I will call this new set of ambient cues the playback space. In other words: Recording space + Listening space = Playback space The playback space is what the audiophile actually hears at the listening position. It is the combination of the ambient cues of the recording space and the ambient cues of the listening space. When trying to create the illusion that you are there, an audiophile tries to create a playback space whose ambient cues are as close as possible to the ambient cues of the recording space. As I see it, there are two possible ways to go about this: 1. Construct a listening space whose ambient cues resemble the ambient cues of the recording space. 2. Construct a listening space that minimizes ambient cues. ...Both approaches have liabilities, but it is the liabilities of the second approach that are relevant at the moment, for the following reason: To the extent that you minimize the ambient cues of the listening space, the sound arriving at the listener will not be OMNIDIRECTIONAL. It will be BIDIRECTIONAL, assuming you are listening in stereo. Even if the recording has OMNIDIRECTIONAL ambient cues, what you will hear at the listening position is the BIDIRECTIONAL presentation of OMNIDIRECTIONAL ambient cues... That difference is the fundamental limitation in the approach of minimizing the ambient cues of the listening room when trying to create the illusion that "you are there." ___________________________________ I went on in the same thread to propose a third approach to creating the illusion that "you are there"... 3. Construct a listening space that is acoustically ambiguous. I believe that, of the three approaches, this last one allows for the widest range of recording spaces to be realistically represented in the listening room. As I mentioned in my last post, I don't believe that the illusion that "you are there" is the same thing as "holographic sound." I think the latter is possible without the former. Having said that, I also believe that efforts to enhance the illusion that "you are there" will usually enhance the experience of "holographic sound." IMO, IME, YMMV, etc. Bryon |
- 483 posts total