From the OP:
As far as I am concerned I've been waiting to give any explanation needed for folks to comprehend the OP, but as long as the responders are stuck in their own created spins, I can wait. Besides I've been busy walking.
I for one am not interested in comprehending the OP and since the originator is being patient in providing answers to questions asked from the readership being that everyone is stuck here on our own spins, we offer some highly opinionated answers to a couple of outstanding questions. At the same time, we wish to separate ourselves from the OP’s tactics so without further delays and/or psychological gamesmanship:
My name is Robert and member of Star Sound (SS), a vibration management company. The OP and I crossed paths a quarter century ago where I was an Authorized Dealer for the OP’s products in a high-end boutique located in Allentown, PA in business from 1985 through 1993. We mechanically grounded walls with brass cones and reinforced wall structures by applying various shapes of blocks of wood and metals to existing drywall and flame resistant wall spread surfaces using various sized brackets, long bolts and nuts for anchoring purposes. Through various tensions we were able to change the sonic of the environment. I’m guessing this experience can be accepted by the acolytes as “walking the walk” therefore am fairly qualified to post here as an experienced tuner.
Please keep in mind that the OP and I are entirely different people with two completely diverse technical approaches to audio reproduction but share in and rely on a known application for product function titled mechanical grounding.
Regards to tuning:
Those who have not heard it have no basis to criticize it. Those who have not should try it.
Good Point… I agree this technique provides function with audible results however… as musicians, engineers, audiophiles and most listeners already know - whatever instrument or device that is ‘tunable’ or has the mechanical means to alter harmonic structures particularly when using any type of woods combined with metal parts and tension procedures; the instrument and/or room will and does “Go Out of Tune” via changes in temperature (contraction and expansion), air pressure, humidity or whereas pitch can simply alter over the course of elapsed time.
Having to constantly adjust the room, racks and speakers prior to and during listening sessions took too much time out of the day whereas some listeners may thrive having the capability for continuous change. The initial rush felt like I was mixing music again only changing the entire piece of recorded material in a ‘post production setting' compared to mixing individual instruments and vocals. This result yielded a really weird sensation but also one of accomplishment.
The largest drawback was the system and room never achieved a reliable point of reference. Charting measurements was improbable as the environment and system were always in a state of flux eventually leading me to abandon the tuning process.
Proof of this statement is provided from jt47t:
Now I realize that each recording can and should be tuned in as an individual set of values. With every recording we play it is slightly out of tune as compared to the last tuning. With some simple adjustments the soundstage becomes full and the tone balanced. For example the bass line on each recording is completely different from the next. The highs are too but the bass more so. Once we get that bottom end tuned it seems like the rest of the range falls into place or is at least easier to fine tune.
I eventually found difficulty in taking the required time and patience to dial in a single recording because listening time is always cut way too short. In my opinion, people should first analyze their listening habits, goals and available time parameters then decide if the variable adjusting methodology is right for them.
@amg56
Regards to your statement to the OP -
Explain how or why this works. Why is it so hard to get a straight answer?
Here is my basic opinion on how this methodology functions (anyone can discover this on their own so there are no trade secrets being revealed here).
The process uses metal round rods or bar stock material on the interior of a wood box and is usually accompanied by two brass bolts located outside the box. The bolts are direct-coupled to the bar stock via machined threading with the wood surfaces located in between the metallic parts.
Applying ‘tension’ to the bolt mechanism creates a physical pressure against the wood surface establishing via compression and release the capability to alter the audible harmonic structure of whatever rack, speaker or wall device is in use.
Opposites attract:
Our Company’s technical approach to audio reproduction, environmental sound management and musical instrument applications are based on mechanical grounding techniques. We work to greatly reduce the highly audible frequencies of wood vibrating in hi-fi playback systems and listening environments.
Some prefer the use of wood stating that it offers a warmer or softer sound hence you always get various opinions of which kind (maple, poplar, mahogany, Amish hand-picked ⌣, rare or exotic hardwoods, etc.) and which type of finished wood sounds best (kiln dried, air dried, veneered, stained, painted, hard sealed, etc.). This is where the personal flavoring selections and argumentative conversations on what wood sounds best originate.
SS prefers to rely on applied geometry, material science and metals because the frequency of these "resonance conductive" materials and mass when vibrating are well above and below the range of human hearing. You do not hear their noise qualities unlike wood.
Reducing vibrating wood surfaces greatly lessens the amount of frequencies and noise in the environment. Removing any audible and/or inaudible noise from the overall formula creates open air space so you hear more of your speaker system in comparison to a lot of other self induced sounds being present.
The OP’s approach involves adjusting the harmonics of vibrating wood and often adds a lot more wood into the environment by using more products where the need for more adjustments are then required. There is no wrong doing here as previously stated above, some listeners may prefer and expand their enjoyment from this methodology.
Common Link:
Mechanical grounding is the key process that improves the performance in SS products as well as the OP’s products too. He uses brass cones to connect the stands to the flooring and metal screws or bolts to attach and mechanically ground the products to the walls and I am fairly sure he still uses brass cones or metal objects between the components and rack shelves to mechanically ground the components to the rack structure establishing the method of vibration management known as resonance transfer. Without mechanical grounding we would not have a company or technology to advance.
I feel the need to interject here involving jf47t to amg56:
jf47t states…
OK here's what you do amg. That thing at the top of your page. You type in "how to tune a guitar" now click on videos and it will take you to about a hundred or so videos on tuning a guitar. Now if you choose to pick another instrument simply type in that instrument and it will tell you how to tune it. Let us know what you learn.
There may be some confusion as to the use of the descriptive term ‘tuning’ as the OP’s methodology does not allow for tuning individual notes as on a musical instrument but does alter the harmonic structure and sound of a chassis.
As not to argue but physically tuning up an instrument for playback is easy to understand and likewise accomplish, however actually knowing what is happening to the instrument with concerns to the forces of shear, tension, vibration, energy build and release, resonance build up and what is actually happening to the string (if it is a guitar) and how those forces relates to sound and velocity is what information I believe amg56 is searching for from the OP?
Example: The readership has asked for definitions on how resonators function. Our R&D manager and product specialist, Tom D (the audiotweak) provided information to that question on 05-24-2018 11:41am and defined speaker function on 05-16-2018 9:48am.
amg56 admitted he did his four years of time and earned a degree in engineering so it’s in his blood to seek out more detailed information. To the best of my knowledge he and gkait are the only persons posted on this thread that have earned their authentic ‘goatskins’. If there are more, please let us know more on your background. There are also those here claiming to hold that distinctive title in education but obviously do not.
Thank you for your time,
Robert - Star Sound
Disclaimer:
Star Sound strives to deliver information to the best of our knowledge as we understand it without infringing on discoveries that are currently involved in the US Patent process. We do not know enough about empirical testing labs or empirical testing methods as they are not recognized as part of our program of study so we’ll let those topics up to others for validation.
Likewise we believe anyone who posts or reads audio related forums are already ‘talking the walk’ by reasons of working to gain greater knowledge and/or achieving better sound regardless of processes, progress, achieving successes and or failures. We all fail quite often while talking the walk and also walking the walk.
Vibration management in audio reproduction is overwhelmingly based on a host of questionable and arguable theories where we also share different opinions and objections. Without all those historical theories our company and newfound technology would not exist. Theory leads to discovery!
Our company is moving forward by learning about sound reproduction and function related to vibration in much greater detail and continues working to earn acceptance from the fact filled, documents required always demanding proof and well tested scientific community. Our theoretical concepts and products, despite all accomplishments are still a work in progress.
Converting theory to fact has been by far - the most difficult path to gain.
