Striking a balance between musicality and resolution


As my years and experience in this hobby continue to grow I notice a divergence between those seeking extreme resolution and detail from their music reproduction systems and those in search of maximum musicality.

In theory, high-end audio systems should provide more than garden variety stereo systems. In my view that means more detail and information should be heard from a high-end music reproduction system than one hears from ordinary HiFi stereo systems set ups. BUT is there such thing as too much resolution and detail in a stereo system’s sound presentation?

Some people feel that a less detailed presentation that is easier for your brain to process has better flow and provides more enjoyable listening.

So there is the dichotomy. Should one pay more to hear less? Can a frequency response performance that is curtailed at both frequency extremes be desired and praised?

Those that seek a “more musical” presentation usually point to their belief that that is how they hear live un-amplified acoustic music in the real world. In nature, high frequencies attenuate and decay with distance from the source and sound waves get absorbed, diffracted, reflected, and diffused by the environmental factors and landscapes; so they are not wrong in stating that in the real world the sound of music is less detailed and extended. The issue is that when we listen to our music reproduction systems at home we are not listening to live un-amplified music in a concert venue, but rather professionally produced audio recordings typically recorded with close-microphones techniques.

So the question is, do we want our systems to reproduce the sound on the commercial audio recordings accurately or does one want hear the sound the way one thinks that it should sound?

Lucky for me, I have enough systems at home that I have been able to design, set up, and tune them for different targeted resultant sound, sound presentation, and sound qualities. For instance, my OKTAN6 ultimate horn system is a dissecting microscope, my Pinnacle horn system aims at extreme musicality, and my WAAR reference system is a chameleon, which can be adjusted to sound exactly how you want it to sound in real-time.

My “test-bed” system takes on the sound character and sound qualities of the components in use and it is excellent for evaluating what new components have to offer or bring to the table in terms of sound qualities. But with the Acapella TW-1S ION plasma super-tweeters extending the high frequencies, the TBI Emperor subwoofers extending the low frequencies, and the highly detailed & nuanced Digital Audio Denmark AX24 DSD dac streaming HQPLAYER as the source, the “Test Bed” system is a highly resolving system.

As with everything else in life, is there a happy medium or compromise that gives you the best of those worlds? I believe that there is and that great music reproduction systems can be tuned to strike a balance between musicality and resolution. If one listens to the evolution of my OKTAN6 ultimate horn system for instance you can hear that the fine tuning is driving the sound in that direction.

So during last night’s listening session I adjusted the sound of my “Test Bed” system to a more musical sound presentation. The “Test Bed” system is always in flux so it allows me to experiment, explore, tweak, tune, and have fun with it.

Here is an audio recording from last night’s listening session that captures the revised sound presentation and conveys the sound qualities that exemplify a more organic sound versus a more delineated & resolved sound presentation:
 

The Way It Goes

 

carlos269

I never posted any picture of my 100 tuned resonators distributed from each speakers drivers through my room and  around my listening position...

must i write it in Russian ?smiley

The reason is simple, it was not esthetical completely homemade and guess how many simple minds will laugh without end ?

My goal was not bragging here about my system  "sound", as some do here without knowing that the room serving any system matter more ,  but learning basic acoustics  concretely by experiments..

 

@mahgister:  in that pictures of your system was you who   used the word resonator.

Never mind, yes I’m still laughin. Sorry to disturb you. Eough.

@lanx0003

I don't have that capability.  I use a Behringer DEQ 2496 61-band RTA for measurements.

Dear @carlos269   :   " Why is it that only myself and @mihorn have actually shared audio recordings of our systems on this thread? "

 

Maybe because he is an audio seller ( self and free advertasing ) and you ? well you are the OP.

 

R.

 

 

 

Kevin:  It comes down to a few things.

As always, first is cost.  I’ve picked up a slew of the Audyns on ebay for little coin over the years.

I do have larger values (up to 100 mfd), but they are too big to fit in the cases whereas paired smaller values do fit.

As I said, I’ve been through countless iterations and in one go-round I used the 441P 10 mfd conjugate cap on the 2241 because I had it handy.  These are vintage and I got the 10 mfds from my neighbor (a retired NASA engineer now passed), and I could instantly hear a difference.  I liked it so I went on-line and was able to find the 441P in 15 mfd and the 3 mfd so these replaced the Audyns.

As for resistors, R1 is replicated because I want the total load to be 28.1 mfd, and this is not a readily available value and two 56.2s split the load so they can handle the wattage.

BTW, it is really not so simple and there are probably no/few other crossovers that work quite like this.

The Heil does not play nice with the 2251 and these require fairly substantial slopes to avoid crosstalk.

To increase the slope on the 2251, I "over-capacitate" it.  This then creates a very steep slope, but also a hump just below the slope.  The hump falls in the critical area for vocals/detail.

Sound going to the 2251 goes through a choke as part of a second order crossover. But the signal also by-passes the choke (R2/R4/VR1) and this is not in phase with the hump.  So the more that is allowed to pass, the flatter the hump becomes, but the steep crossover slope is retained.  On the 30 ohm resistor, the system is flattest.  As resistance is added through VR1, (starts at ~31 ohms when paired with the 20 ohm series resistor), more of the hump comes through bringing out the vocal range.  This pair can go as high as ~52 ohms before going to infinity which removes this portion of the circuit entirely.  Note the schematic says "contour" and not volume.

The Heil is treated such that it hits a "brick wall" at the bottom of its range (~2.5KHz) and the addition of the "brilliance" cap does not extend the crossover frequency down, as one would expect, but rather raises the volume in that area just above the crossover frequency, ~3-5KHz increasing detail.