Joefish,
I've always been something of a "soundstage addict," myself. I even owned in the 1980's (and still have in a box somewhere) a Carver Sonic Hologram Generator.
The theory was the the C-9 injected a certain amount of out-of-phase info into the output signal, so as to "cancel interaural crosstalk..." precisely, as you say, to create a "headphone" experience through speaker systems.
As I remember, the C-9 had only two control buttons, each with a Hi/Low toggle:
"Injection Ratio" controlled the intensity of the effect.
"Listening Window" controlled the size of the "sweet spot."
The pleasantness or unpleasantness of the C-9 depended heavily on the source material. Some material could sound artificially echoey and weird. Tracks that had voices or instruments panned totally to the left or right channel (think some Beatles tunes, for example) tended to really show off the effect: you'd hear sounds coming from way, way beyond the outer, physical boundaries of the speakers. It was not unlike what you get from the SRS processing in some boom boxes today.
In my setup, the Ohm "holography" is more subtle. It has more to do with retrieval of a sense of ambience, if that makes any sense. And some sounds/ instruments will fill the listening space in a very convincing and pleasing way.
John Strohbeen once said to me that the CLS driver's soundstaging characteristics tended to shine on two very different kinds of recordings: purist, live recordings with minimal miking, and heavily processed studio tracks where the engineer has deliberately manipulated phase artifacts to give the illusion of spaciousness.
I've always been something of a "soundstage addict," myself. I even owned in the 1980's (and still have in a box somewhere) a Carver Sonic Hologram Generator.
The theory was the the C-9 injected a certain amount of out-of-phase info into the output signal, so as to "cancel interaural crosstalk..." precisely, as you say, to create a "headphone" experience through speaker systems.
As I remember, the C-9 had only two control buttons, each with a Hi/Low toggle:
"Injection Ratio" controlled the intensity of the effect.
"Listening Window" controlled the size of the "sweet spot."
The pleasantness or unpleasantness of the C-9 depended heavily on the source material. Some material could sound artificially echoey and weird. Tracks that had voices or instruments panned totally to the left or right channel (think some Beatles tunes, for example) tended to really show off the effect: you'd hear sounds coming from way, way beyond the outer, physical boundaries of the speakers. It was not unlike what you get from the SRS processing in some boom boxes today.
In my setup, the Ohm "holography" is more subtle. It has more to do with retrieval of a sense of ambience, if that makes any sense. And some sounds/ instruments will fill the listening space in a very convincing and pleasing way.
John Strohbeen once said to me that the CLS driver's soundstaging characteristics tended to shine on two very different kinds of recordings: purist, live recordings with minimal miking, and heavily processed studio tracks where the engineer has deliberately manipulated phase artifacts to give the illusion of spaciousness.