Law of Accelerated Returns


I think back over the many decades of pursuing high end audio and I realize some of the most inspirational were listening to state of the art systems. Systems I could never dream of affording. I occasionally would get up early and drive the two hours to Phoenix in hopes of finding no one listening to the state of the art system in “the big room” at one of the four or five high end audio stores there in the early ‘90’s.

One such time I was able to spend over an hour with the most amazing system I have ever heard: Wilson WAAM BAMM (or something like that… all Rowland electronics, Transparent interconnects). The system cost about over $.5 million… now, over a million… although I am sure it is even better (I can’t imagine how)..

 

But listening to that system was so mind blowing… so much better than anything I could conceive of, it just completely changed my expectation of what a system could be. It was orders of magnitude better than anything I had heard.

 

Interestingly, as impressed as I was… I did not want “that” sound, as much as I appreciated it. It still expanded my horizon as to what is possible. That is really important, as it is really easy to make judgments on what you have heard and not realize the possibilities… like never having left the small town in Kansas (no offense).

I keep reading these posts about diminishing returns. That isn’t the way it works. I recently read an article by Robert Harley in The Absolute Sound called the Law of Accelerated Returns that captures the concept perfectly. March 2022 issue. The possibilities in high end audio is incredible. Everyone interested in it in any way deserves to hear what is possible. It is mind expanding. 

 

 

ghdprentice

@jerryg123

 

Well I should qualify that the mbl demo I heard was a full scale symphony orchestra recording and you could locate the players exactly in a 3-D area about 24-30’ wide at the immediate front of the listener I would estimate and similar depth as I recall however the sides were tapered to maybe only 5’ or so at the rear, so NOT parallel and highly treated with curtains and whatever was used behind those. So sit in row 1 at the symphony and shrink the size of the stage down to that size and that’s what you had, with all the players locations easily triangulated by the ears within that space. It was awesome but still obviously a scaled down version of a live symphony in terms of physical dimensions though SPL levels were comparable.

I will say though, that with a good symphony recording, if I close my eyes at home, I can convince myself what I hear is similar to what I would hear at The Meyerhoff Symphony Hall in Baltimore or Carnegie Hall (in NY), maybe a third to two-thirds of the way back in most cases, depending. Those are the two quality venues of that scale that I am most familiar with. Achieving that was one of my goals and that makes me very happy and content! If I sit close enough with the Ohm wide-dispersion pseudo omnis, maybe front row if the recording permits.

Also worth mentioning that the guy who designs the Ohm Walsh speakers that I fancy, John Strohbeen, is also a classical musician who frequents Carnegie Hall and says he uses what he hears there to "voice" his speakers. Done very well I would say! Ohms are the poor man’s mbls. They were designed to work well fairly close to walls in most any room most people might actually have though YMMSV.

I need to give the Ohm Walsh’s a whirl in my room. I think they are fascinating 🧐 

Fascinating is an apt description. Different from most for sure...  Been around in various forms now for over 50 years.

My advice to those who continuously spend lots of time and money with fuses and tweaks and the like always looking for something better or different, that money would be better spent invested in acquiring and properly setting up a good pair of wide dispersion/omni speakers. Then you truly have something new and different to compare.