@Vitop - You know, that’s very interesting, the concept about other models of loudspeakers not behaving like anything in nature. I’m not sure what kind of "curves" that Eric is talking about, but as we know with headphones, many of them are tuned certain ways to accentuate certain frequencies.
I’m not saying that’s the correct way of designing headphones and/or speakers, yet I’m reminded about the ear/brain connection and how the brain is more attracted to dynamic sounds as they occur in nature as opposed to mechanical ones. It’s much how the eye picks up the color green more than any other color due to our ancient ancestors living in jungle/wooded areas that were rife with predators. Anything that contrasted against green sent up a red flag, so to speak.
The point is, in my study of the ear/brain connection this harkens to the "Loudness Wars" and how dynamically the ear brain wants to reject the compromised, digitally compressed music that has been the rage over the last 20-years or so.
It makes me wonder, then, about Tekton’s patent and if it’s not simply a way to adjust the voicing to be more "natural." Therefore, is it the speaker’s responsibility to be as flat as possible, or is it a natural representation of sound that caters more to what the brain wants to decipher? I figure that a hi-fi speaker should yes, be surgical and resolving enough to hear the smallest nuances of the music, though what is a flat frequency response if not a graphical representation of what people have determined to be correct and true. They are mere plots on paper. Sure, there is merit in the study of frequency, despite how we all internalize certain frequencies in different ways. There are some of us who might loathe the sound produced by a trumpet, yet revel in the sound of a musical saw.
Here’s the trip: at Bob’s house I noticed that digitally compressed music was much more palatable voiced through the DIs. It made me wonder if the DIs are a more "natural" conduit - a champion of dynamism - that plays music more in the the way that people want to hear it versus the way we’re told *how* we must hear it.
I doubt that the Tekton "magic" occurs with wild peaks and slopes across the audible frequency band; however, with much talk of "overtones" and such, perhaps we’re giving the actual music a fighting chance here.
I’m not saying that’s the correct way of designing headphones and/or speakers, yet I’m reminded about the ear/brain connection and how the brain is more attracted to dynamic sounds as they occur in nature as opposed to mechanical ones. It’s much how the eye picks up the color green more than any other color due to our ancient ancestors living in jungle/wooded areas that were rife with predators. Anything that contrasted against green sent up a red flag, so to speak.
The point is, in my study of the ear/brain connection this harkens to the "Loudness Wars" and how dynamically the ear brain wants to reject the compromised, digitally compressed music that has been the rage over the last 20-years or so.
It makes me wonder, then, about Tekton’s patent and if it’s not simply a way to adjust the voicing to be more "natural." Therefore, is it the speaker’s responsibility to be as flat as possible, or is it a natural representation of sound that caters more to what the brain wants to decipher? I figure that a hi-fi speaker should yes, be surgical and resolving enough to hear the smallest nuances of the music, though what is a flat frequency response if not a graphical representation of what people have determined to be correct and true. They are mere plots on paper. Sure, there is merit in the study of frequency, despite how we all internalize certain frequencies in different ways. There are some of us who might loathe the sound produced by a trumpet, yet revel in the sound of a musical saw.
Here’s the trip: at Bob’s house I noticed that digitally compressed music was much more palatable voiced through the DIs. It made me wonder if the DIs are a more "natural" conduit - a champion of dynamism - that plays music more in the the way that people want to hear it versus the way we’re told *how* we must hear it.
I doubt that the Tekton "magic" occurs with wild peaks and slopes across the audible frequency band; however, with much talk of "overtones" and such, perhaps we’re giving the actual music a fighting chance here.