Holographic imaging

09-28-08: Tvad -
“As in the case of the H-Cat's "Doppler Correcting" circuitry, the lack of measurements has always been a sticking point.”

Tvad,

Can you tell me the difference between a standard fuse and an Isoclean fuse? (besides more than $30)
The answer is – one sounds good the other sounds fantastic. It is a sonic or acoustic recognition of superior performance. But how can this be? You surely cannot measure any difference electrically.

How about AVM (Anti Vibration Magic) paint? Simply applying it to transformers and wires and other components makes a HUGE difference sonically. How can this be? Nobody can measure it so you must be wasting your money. But behold – a not so subtle transformation of an existing audio component into something very special. Is it real or imagined? Actually it is real.

The reason these things work is because they operate at microscopic levels. IOW they take care of the really small issues that can have huge sonic effects on the outcome. Much like the microscopic phase errors that I have observed in amplifiers that cannot be measured but have a profound impact on the acoustic performance.

My work has been in the area of the microscopic to nanoscopic regions of amplifiers. This is why it is called Holographic (Cloning) Amplifier Technology. I deal with the structural integrity (shape) if a signal at levels that can go to 100 db below the noise floor. The Wavefront Timing Control is designed to make adjustments in velocity using circuitry that operates in parts per billion.

These are things that your average designer has not “tinkered with” nor do they have a clue as to where to begin.

09-28-08: Audiofeil
“The market decided on Edsel, New Coke, Betamax, etc.”

Audiofeil,
Were these all the brands that you have carried?

Happy listening!

Funny Roger.

Ha Ha

The ship is sinking.

Head for your lifeboat.

Tvad,

Thank you for a civil response. I honestly don’t know what the answer is regarding the issue of having to provide proof that something works other than just listening to the results. The fact is that I have been able to accomplish a great deal of work that has been done virtually in the dark (thanks to the inability of test equipment to point to the problem).
I can attribute this only to my decision years ago to follow a theory I came up with that associated what I was hearing to what I understood to be the actions of the amplifier circuit I was listening to.

The subtle misplacement of objects (in my sonic image) seemed to be caused by very slight alterations in phase but enough to matter when “projected” over a large area (stage). I seemed to have locked on to this concept that this was the mechanism for a lack of pinpoint focus that would be able to discern the difference between background singers as separate individuals. Their exact placement in the “projection” was totally reliant on the ability of the amplifier to pass the signal including the tiniest phase information needed to reconstruct the vector-based acoustic image. The simple act of triangulating the apparent location of objects would easily be scattered by a circuit that was not velocity stabilized. You would hear a general location for a given object but you could not pinpoint it as you would in real life.

The difference between listening to a real performance in front of you and an electronically reproduced performance is the medium. One is AIR and the other is AIR stored in an electrical format. As I have tried to explain – if you tamper with the electrical format before you convert it back to acoustic output. You have essentially tampered with the “stored” air medium. In this case any change in electrical velocity is proportional to changes in the “stored” air velocity. You therefore get the sensation that the sound objects in the reconstructed “projection” are moving slightly toward or away from you. This is recognized by the listener as “out of focus” or “bloated” but the proper technical term is Doppler interference.

Roger

Well, you go incommunicado for four days and a good deal happens. I have had the advantage of hearing at least 7 stages of the development of Roger's capability to "tighten up" Doppler shifts. While this trip has been expensive and often irritating, where I am now in terms of great realism in reproduced music is something I will never regret having taken this long path. Roger's theory has proven correct in my experience.

All that I can really attest to is that Roger has told me he increased a tighter clamp on the signal by tighter Doppler correction, what I hear is greatly improved in its realism. Many times I have thought certainly there could be no further improvement only to be proven wrong later.

I do know that Roger has leased test equipment to assess the benefits of his improvements only to see nothing in the measurements but obvious benefits in what you hear. I have always thought that it is ridiculous to suggest that if instruments don't measure it that it doesn't exist. What it indicates is the sensitivity of the ear. I grant that we can be deceived, but typically we are not, and thankfully so as we would not have survived in this dangerous world.

I have been largely responsible for "awakening" Roger to AVM and IsoClean fuses as I am always tweaking and sometimes with success. If some don't hear the benefits of these tweaks, it is of no concern to me, but Roger has.

I really think that I merely suggested that if one really wants to hear a holographic image you needed to LISTEN to the H-Cat amp especially with the H-Cat line stage in front of it with its WTC set correctly.

If you don't like what you hear, I am sorry you don't share my experience.