primaluna gear, avalon eidolon speakers, cardas

I don't see how the physics of a speakers signal arrive time at the listening position due to improper speaker placement and poorly timed room reflections (old stereo rules) can be overcome without using digital room correction.

I experimented with my Eidolons out of position and a technician using the professional version of Audyssey room correction. The room correction clearly improved the out of position performance. It was equally clear that proper speaker positioning out preformed room correction, at least in my room. Lucky me.

The Professional Audyssey calibration did have an advantage over the Pioneer Elite MCA room correction in my Home Theater room. Fortunately, a simple adjustment of the MCA calibration program brought my HT system indistinguishably close to the Audyssey calibration. This was well worth the cost of the Professional Audyssey technical assistance as was the experiment in the two channel room.

I apologize for the Eidolon toe in question. It was a childish attempt at questioning your knowledge of the basic Avalon design principle. I'm satisfied to agree to disagree with your use of room correction in the two channel application.

Other than a brief audition in an unfamiliar environment of the then impressive Spectral/MIT/Avalon 2C3D demonstration years ago I have no practical knowledge with the MIT/Avalon relationship. I'm not one to second guess Avalons use of Cardas internal wire not to use Cardas Golden Reference speaker cable and interconnect throughout my system.

I measure at different hights and places compared to Audyssey uses it. I also use Audyssey EQ and Volume my way. The endresult is superior to what you can achieve with the Aydyssey way. I also modyfied the tripod so you can use the microphone a lot more precise.

When you compare Pioneer with Onkyo there is a huge difference in stage wide and depth. Pioneer is fully useless because it is a 2 dimensional brand.

It is unusual and a big luck that Onkyo can give a deep and wide stage. I Always test every single brand in how deep and wide a stage is. I was very surprised that Onkyo could give a deep and wide stage. I was not expecting this to be honnest.

When a brand is not able to give a deep and wide stage it Always will be useless for highend.

I said it many many times; Roomcorrection is only 1/3 th of the whole Audyssey Pro package. Many highend people went nuts wenn I could let them hear many new things of there well know favorite music.

Audyssey EQ and volume give me the freedom to create a much better articulation of voices. Without it, I cannot achieve it. It is not possible with other even extreme highend pre amps. My old Pass XP-20 could not give me this level.

Most of my clients who bought Audyssey Pro only listen to stereo. I also listen for over 80% in stereo.

I have heard many MIT/Avalon/Spectral systems in 16 years of time. I didn'nt like any of them. Different collegues at the time had the same feeling I had.

You have to hear it to believe it. Hearing is believing. And that is the only thing that counts. And this makes it a lot more easy.

I create a lot more information on the other hand, but also a much more involving sound. Because emotion in sound is the key to listen for hours and hours.

This will Always be the main goal! That is why I say: I don't sell boxes. I sell emotion. My focus is Always on the endresult. This need to be perfect.

When a part of a system of a client is not able to get he full package of what I call Total sound. I breng in parts which make them complete. So they know what they need to get the full potential.

When exposed to audio opinion bullying from a psuedo technical gasbag like Bo, who bases his seemingly inexorable conclusions on "16 years of selling things," it's important to not lose sight of the actual realities of great hifi sound...i.e. well designed gear set up with care. Digital room correction works as advertised to alter (compress) room bass modes, and will apply the sonic opinions of the designers on you with aplomb. You may really like the sound of this stuff! However, as a professional musician, live sound engineer, and distractingly handsome classic motorcycle aficianado, I've been doing an informal survey of serious musicians and audio freaks I work with (who don't sell gear) regarding their opinions on Room Correction Gizmos...guess what? Among those who seem to care about home audio enough to have an opinion, there is near universal agreement that "less is more." I often get the "why stick another box of wires in the signal path if your rig already sounds great?" response from nearly all these guys. The answer from "too lazy to spellcheck anything" Bo and others of the "black background, driver speed, tempo pace...etc., etc." faux technical gibberish school is that, simply, your rig BLOWS CHUNKS and can't sound great unless you embrace a specific and absolute path of zero wiggle room silliness. I say you can "Go with Bo" or just set up the gear, sit back, and enjoy some music...oh, and see more live stuff as I need the money for my motorcycle problem.

Hey Wolfy,

you forget that I do audio for many different clients. I have clients with sets of less than 2000 dollar till 100.000 dollar.

It is Always about creating the best sound possible for every single person.

I work with the same passion for all. There is no difference in what a person pays.

I try to create the best sound possible. And what I said many times; I send my clients to other shops all the time. I do it this way for over 7 years of time now. Because I love competition.

When another shop can create a higher endresult they should go for it. I want audio as honest and open as possible.

Audio Shows need to be more open and honest for people. Distributers should work togheter instead of only using stuff which is based on political choices.

English is maybe not my first language. But people understand what I try to explain. You don't have to agree. It is just a personal opinion.

The focus is on getting a better sound for all people. This should be the focus of every single person in this business. Instead of only focusing on making as much money as possible.

If Audyssey pro would compress the sound, I would never be interested in it. If you had read more precise you would have read that I create more information with it.

It is 'new'information what is with most other pre amps not there. I have many highend people visiting me all the time. Because it is a lot of fun to share information about music and audio with other people in this business.

In the last 3 weeks I sold 3 sytems which were sold by hearing other sets of clients from me. People love the 3 dimensional sound were instruments and voices are playing fully loose and stand touchable in front of them. You understand very quick why it is convincing and good.

This sound is what music makes addictive. Because you want to hear it for hours a day. And that is primarily based on emotion.

This is based on all parts of a realistic sound and realistic proportion of instruments and voices.

Spoken with the zest of the classically insecure. "The best sound possible" is not an absolute, it is simply an opinion. Subs driven to upper mids and squashed by digital EQ is rarely optimal, realistic, or recommended, and since this is the approach you've described as producing "realistic" results, I can only assume you need to get out more. Open up that closed little brain...feel the warm breeze of real music...there ya go...all better...