Steve is not the usual CZcams personality and he’s not the usual “reviewer” in the traditional definition that is commonly referenced to. Steve brings to us his audiences many various and assorted ideas, thoughts, opinions (not necessarily his own), acoustic science, technologies, psychology of acoustic phenomena, theories, conjectures, style (his wonderful experiences with myriads of fine musical tools and equipment - and let us not forget his shirts!), the emotional aspect of the innate and true beauty of sound and music and musical performance and though his podcasts allows those of us who regularly follow his features many opportunities for contemplation, thinking, serious (and sometimes not so serious) discussion. There’s fun, serious thoughts and a very human component to his series of shows he provides. Thanks Steve!
@@SteveGuttenbergAudiophiliac- Steve, I whole heartily agree, with 'Aswaguespack'. Thank You. As you can see from my comment above. This interview with Andrew Jones, put me on a Nostalgic Frame of Mind, about some Interesting Characters, that worked on Audio's Future. It seems, that in the mid-80's Andrew and I were traveling in parallel Audio Circles. Not to mention the mysterious John Iverson ! Regardless, "thanks for the memories". ;-)
He does provide some great reviews, but the interviews are also nice. Like John Darko, I like that he actually talks about the music he listens to. The audiophile lingo isn't as useful without a reference. (i.e. Bright, warm, etc; relative to what?) By giving us that information about a source type and music type, we can understand more. Vinyl vs CD; what genres, etc. These are all important for understanding the nature of the review.
The idea of playing over the same monitoring speakers/mixing room is something that's the end game of reference audio playback. The Smyth Realiser A16, JVC Exofield, Genelec have an ear scanning service that will compute your HRTF. But I believe once we are here - audiophiles will realise they actually like their rooms/speaker combos and their speakers and rooms are, in fact, a feature of the music and are effectively instruments - not mere messengers of original intent of the mixing engineer.
This is interesting to hear because this weekend just gone I attended an eisteddfod that my son performed in and the judges (who were judging vocals) we're sitting way below the singer at ground level (their ears at ankle level) And in another room (a small chapel) they were sitting to the right of centre. Me as an audiophile sat level with the singer front n centre (where the judges should have been) You wonder if these judges (who are all professional singers and performers) have a nice home system and if they care about setup position. I bet they don't.
Steve, I was hoping that you would ask Andrew what he thinks about compression; what he thinks about all of his time, skills, and engineering efforts being undermined by Alex.
I think room acoustics is the random particle no matter the sound reproduction transducer. also, so much recorded music gives little effort in replicating a 'like you were there' environment, but instead use panning, and alternating L and R imaging to produce stereo/placement effects doing things that would never occur in a live performance. god bless the sound engineers that attempt to deliver a pleasant musical experience
Neural 'speakers' are the endgame. Directly exciting the brain with a signal that it would receive if you had perfect ears, bypassing any mechanical parts.
The problem is that all of this requires more speakers, more electronics, and a greater percentage of room space devoted to the equipment. It obviously also means more money devoted to it. By the way, we know that cancellation works, because we have noise cancellation headphones, which conceptually, are related to this problem. Additionally, when Andrew and I spoke about this the other day, I brought up the problem of being at a performance where sight plays a very important part of localization, and level recognition, which we do not get with recorded music, unless it’s a dvd or BlueRay (to a certain extent). This means, in my experience, when recording back when, that the recording needs to be modified to enable us to hear something that, in performance, we can see, enabling focus, which doesn’t exist in playback. Therefore, we have to modify the recording to make it less natural, in order to make it sound, in playback, more natural. Andrew agreed that this was a problem. It’s a problem that will exist even if these advanced techniques are utilized.
My first thought was to somehow bypass the ears and project the sound directly into your head to stimulate those areas of the brain that would make you think you are hearing sound. So, when the conversation kind of ended up there at the end I felt so proud of myself. LOL. The other idea I had was to have robots playing real musical instruments in your living room - kind of like a player piano. You could record the physical movement of musicians playing their instruments and then play those movements back on your home music robots.
If not robots then miniature clones of musicians. You could order them like you used to order DVD' s from Netflix and receive them in the mail. When done just send them back. Mind the air holes.
I have 6 cylindrical spheres levitating in space radiating sound together with 3 subwoofers. The sound is mindbogling. Pity that i can not hear beyond 11 KHz.
Since my “original event” has always been the multitrack studio tape, my future system always involved allowing me to remix to taste, and the heck with that original mixing engineer. As quadraphonic was “popular” when I was in High School, my extension to that goal was “Infiny-Phonic” Sound , which gave me a 3d joystick control for every individual track, that I could then place into any point within a 3d space. Such that, for example, I could send the kick drum into my neighbors kitchen.
the standing wave things brings up another problem. it depends where you are how well it works as well as you have even more distortion to worry about, they have to be as good and flat as there ocunter parts or it will fail. not gone happen if ur not sitting at one particulairy spot :(
How about reproducing an orchestra or band by recording each instrument individually, making a small speaker to reproduce that instrument, then placing those speakers in the position of the original players. Amongst many other things, the challenge would be to make each speaker as small as possible, because it would be hard to put a symphony in a living room...
Initially more doable with purely so-called "electronic music." Next phase - record the meatsicles with their natural instruments and meatsicle voices which is then VR'd to perfection by synthetic means. Those files could then be modified to make whatever "room" you wanted with whatever speaker array was practical - the musical equivalent of the "avatars" we are seeing on the animated movie screen now which are also evolving to greater and greater fidelity. So, we would have avatars of musicians and their instruments morphable to whatever would be requited of them to satisfy a given audience in a given listening situation.
I had the pleasure of meeting Michael Gerzon of Oxford's Mathematical Institute (where He had worked on Axiomatic Quantum Theory), in the mid- 80's , during a AES convention, in NYC. Michael was there to speak on Ambisonics & Calrec's "Soundfield " Microphone. A Friend and I took Michael, to the now gone, but famous Carnegie Deli, were He ordered Matzo Ball Soup & a Sandwich. He was rightfully shocked, by the Enormity of the sandwich. He wasn't much of an Eater … always a Frail fellow. We lost Him in 1996, to Pulmonary Disease. As to the Delivery of this Sound; there's the Mysterious John Iverson. Who I met at several occasions, when I worked with a former employer Mel Schilling - founder of 'Music & Sound' , in the Philly area). But, I met Iverson, when Schilling had already moved to Woodland Hills, CA -the San Fernando Valley of LA); at the suggestion of Arnie Nudell of Infinity. There Iverson built The Electro Research A-75 Class A Amplifier. Iverson's other "audio" Projects; perhaps would have been more "at home", a the 'Skunk Works', or the Aberdeen Proving Grounds ! Once such, was the so called "Corona Force" Speaker. Like the above mentioned Amp, had some unique properties. So much so, It's said, further research into It; was "curtailed", by Our Government ! It's said, that amongst Other things; It allowed some otherwise Deaf People to hear, by passing the Ears ! I never saw, nor heard them. But the way They was described to be, They could have describing the Louvered Pods, from Cronenberg's movie, 'The Fly'. As a matter of fact, a Tech with Electro Research swore to me; That He once witnessed a Fly enter one of these Louvered Speakers, while playing Music, and Exit out the Other ! As for Iverson, truly an eccentric fellow, He just literally vanished one day. He was living in Lake Havasu, and was building critically acclaimed Audio Products, under the "Eagle' brand. He just disappeared. Vanished without a trace, And He's still M.I.A. Some say, It was Foul Play. I'm guessing, We'll Never know.
I’m seriously looking at some ELAC towers and a center channel for my home theater that I also like to listen to music as well. I listen to all sorts of music, movies, sometimes I want to crank it up, other times I just want to chill and listen to accurate music. The only drawback on these that I see is the efficiency rating, gonna need more power than if I get Klipsch?
Was Andrew involved with the Uni-Q driver while at KEF? If so, was he the lead or a support engineer? Also, I never heard any size Elac speaker but I hear they are power hungry, even the small bookshelves. Is this true?
Steve: Okay, so what do you need, besides a miracle? Andrew: Speakers, lots of speakers. Steve: Andrew, no one has ever done anything like this. Andrew: That's why it's going to work.
This is so interesting to think about. What will this mean for the mixing and mastering process and art once we’re no longer presenting a “flattened” product?
I've heard his twin brother is involved with THX amplifiers and electronics could you ask him what he's currently involved with? Since I'm also a twin I'd be very interested in getting some of his brother's gear and match up with some of the ELAC speakers I have now wouldn't that be cool!
Great thoughts. The last idea is cool as well but unfortunately many producers will not have the greatest gear to playback to the dummy head. And the room acoustics is still a problem. Ofcourse a new market might emerge renting out these playback units.. on a container truck to wherever, next day service !
Long time ago the BBC and using the Calrec microphone with 4 90 degree capsules with 4 loudspeakers and amps to record and playback made an amazing sound but you had to listen at one center spot so never took off commercially.Mr Dolby then got hold of the market with "Surround Sound " Yuk
I wanted the ELAC UB5 but I want a soundbar replacement, so I need an amp+EQ+remote integrated. The Dayton Audio DTA-2.1BT2 looked like a great match but I can't adjust it from the couch, and I still need to add the Schiit Loki EQ. My dream setup is the UB5 with that. Right now, I'm between the Vanatoo Transparent One Encore and Fluance AI60. Any thoughts or advice? This market is frustrating and I may just go for the Klipsch Bar 48 soundbar since it's easily turned into 5.1.
since environmentalism is a thing ( to many ) maybe more efficient speakers would become a trend - even a small 3 db increase is a cut of HALF in power right ? they go to lengths to reduce draw on lightbulbs, TV's....
Hi Does Andrew think new speakers will be needed for the new high definition vinyl coming next year? Also Steve, please what is that RCA Theatre Sound Box in the background?
@@ghostrecon3214 aerogels are very low mass strong materials like so low mass they can sit on a dandelion. I feel like they should make great diaphragm material. www.aerogel.org/?p=3
@@julianayala03 Don't forget graphene! Not only can it be used structurally, but it can also conduct an electrical current more efficently than copper. Once they figure out how to mass produce it at a reasonable cost, graphene is poised to revolutionize technology on every level, including audio!
None of those things will bring you closer to the original performance. Stereo is inherently flawed and a better and more complete way of conveying the original performance is necessary. That's what Andrew Jones is talking about here.
Would not want to listen to the studio monitors as many audiophile speakers are much better to listen back and re reproduce the recordings with Andrew's idea
Wow, so we don't even get to hear any actual real instruments. A dummy head in the studio placed at the mixing desk and we hear the sound of studio monitors. Hmmm. Another thought is how would you simulate the sound at the dummy head using dsp off the mixing desk? One is still processing the sound, but you are not listening to the sound of the speakers. In either case, the sound is being manipulated from the actual event. I still like live to track or live to multiple channel for the most realism for now.
Pie in the sky stuff that people have been talking about for a very long time. Don't hold your breath. Such things are already scientifically possible, but turning them into marketable products is a whole other thing. It's fun to speculate, just like it was fun listening to the auto companies telling us how we'd all be in flying cars before the turn of the 21st century.
hello, why don't you ask him what it takes for the driver to fulfill so that he can transmit as accurately as possible the electrical signal he receives from the amplifier. These are the basics. The question is in place because the drivers being measured same don't sound the same. These are the basics, once the basics are established, then it can spread over already known things that he has repeated many times in other shows. Be original, ask the essence.
As mentioned in the interview with Andrew, Only the Calrec "soundfield" microphone had attempted to "un-muck -up" the Recording Chain. So how Any speaker can gives us a "semi - decent" reproduction of a recording, is Miraculous, in Itself ! Truly, NO speaker currently can "mimic" every Microphone ever used, on every recording , ever made. And then, further hope to do so, with "Multi- Mic"-ing techniques … Good Luck ! ;-)
I’m really sick of this guy he’s not the god of speaker 🔈 design yea he’s got good credentials,great I’m just saying everybody jumping on the bandwagon to interview him I’m tired of it no go away
I knew Siegfried (RIP) for years. I also know Andrew from my loudspeaker industry days. Their philosophies are not as far apart as you might think. I don't know if they've met, but I'd be surprised if they didn't.
I'm certainly NOT A FAN of his loudspeaker designs, not to my ears any way. Even the elac loudspeakers haven't a patch on my monitor audio gr20 gold reference loudspeakers, and that's putting it bluntly, I think elac are pretty rubbish to be honest. My monitor audio's are more revealing and faster.
Andrew Jones made killer speakers affordable for blue collar Audiophiles. He is a real hero!
Andrew Jones continues to be the gold standard in speaker designers.
Excellent interview with Andrew Jones.
Steve is not the usual CZcams personality and he’s not the usual “reviewer” in the traditional definition that is commonly referenced to. Steve brings to us his audiences many various and assorted ideas, thoughts, opinions (not necessarily his own), acoustic science, technologies, psychology of acoustic phenomena, theories, conjectures, style (his wonderful experiences with myriads of fine musical tools and equipment - and let us not forget his shirts!), the emotional aspect of the innate and true beauty of sound and music and musical performance and though his podcasts allows those of us who regularly follow his features many opportunities for contemplation, thinking, serious (and sometimes not so serious) discussion. There’s fun, serious thoughts and a very human component to his series of shows he provides. Thanks Steve!
Thanks for the kind words, you made my day! Steve
@@SteveGuttenbergAudiophiliac- Steve, I whole heartily agree, with 'Aswaguespack'. Thank You. As you can see from my comment above. This interview with Andrew Jones, put me on a Nostalgic Frame of Mind, about some Interesting Characters, that worked on Audio's Future. It seems, that in the mid-80's Andrew and I were traveling in parallel Audio Circles. Not to mention the mysterious John Iverson ! Regardless, "thanks for the memories". ;-)
Fantastic interview and subject matter. Andrew is so intelligent.
I hardly even think of you as just a 'reviewer' any more Steve. You're way beyond that. Thanks !!
Steve is #1 in my book!
thanks!
He does provide some great reviews, but the interviews are also nice. Like John Darko, I like that he actually talks about the music he listens to. The audiophile lingo isn't as useful without a reference. (i.e. Bright, warm, etc; relative to what?)
By giving us that information about a source type and music type, we can understand more. Vinyl vs CD; what genres, etc. These are all important for understanding the nature of the review.
Love these interviews with experts!
Fascinating stuff. Thanks, Steve & Andrew, for doin’ this.
Thanks forsharing this informative video with the lively guru Andrew Jones with us, Steve. We should have interviews like this on and off.
Amazing in depth, stretching the brain. Love it.
He must have the best life of any designer. He's always so laid back and happy. That comes from major success.
Steve: This is fantastic, I think you're on to something. It doesn't hurt that Andrew is brilliant!!!
Fascinating, thank you
Steve can you do an interview with Tyll and see what he's been up too?
Steve, yet another terrific interview. Thanks
The idea of playing over the same monitoring speakers/mixing room is something that's the end game of reference audio playback. The Smyth Realiser A16, JVC Exofield, Genelec have an ear scanning service that will compute your HRTF.
But I believe once we are here - audiophiles will realise they actually like their rooms/speaker combos and their speakers and rooms are, in fact, a feature of the music and are effectively instruments - not mere messengers of original intent of the mixing engineer.
Another absolutely brilliant interview, Steve. Thanks so much!
This is so cool. You deserve many many more subscribers ☺️
Thanks, getting there, one at a time.
I love this Mount Rushmore of Modern Audio series. Great Stuff Steve.
Wow, so interesting and mind expanding. Thanks!
This is interesting to hear because this weekend just gone I attended an eisteddfod that my son performed in and the judges (who were judging vocals) we're sitting way below the singer at ground level (their ears at ankle level)
And in another room (a small chapel) they were sitting to the right of centre.
Me as an audiophile sat level with the singer front n centre (where the judges should have been)
You wonder if these judges (who are all professional singers and performers) have a nice home system and if they care about setup position.
I bet they don't.
Awesome video with you and Andrew Jones
Very interesting discussion! Kudos!
IMO a musical event is a full body experience. It needs to be felt as much as being just heard with the ears.
Steve, I was hoping that you would ask Andrew what he thinks about compression; what he thinks about all of his time, skills, and engineering efforts being undermined by Alex.
I think room acoustics is the random particle no matter the sound reproduction transducer. also, so much recorded music gives little effort in replicating a 'like you were there' environment, but instead use panning, and alternating L and R imaging to produce stereo/placement effects doing things that would never occur in a live performance. god bless the sound engineers that attempt to deliver a pleasant musical experience
Neural 'speakers' are the endgame. Directly exciting the brain with a signal that it would receive if you had perfect ears, bypassing any mechanical parts.
Then you'll still have people reviewing head DACs.
Unexpectedly interesting! :)
Wow. Always a great video with Andrew. :)
The problem is that all of this requires more speakers, more electronics, and a greater percentage of room space devoted to the equipment. It obviously also means more money devoted to it.
By the way, we know that cancellation works, because we have noise cancellation headphones, which conceptually, are related to this problem.
Additionally, when Andrew and I spoke about this the other day, I brought up the problem of being at a performance where sight plays a very important part of localization, and level recognition, which we do not get with recorded music, unless it’s a dvd or BlueRay (to a certain extent). This means, in my experience, when recording back when, that the recording needs to be modified to enable us to hear something that, in performance, we can see, enabling focus, which doesn’t exist in playback. Therefore, we have to modify the recording to make it less natural, in order to make it sound, in playback, more natural.
Andrew agreed that this was a problem. It’s a problem that will exist even if these advanced techniques are utilized.
My first thought was to somehow bypass the ears and project the sound directly into your head to stimulate those areas of the brain that would make you think you are hearing sound. So, when the conversation kind of ended up there at the end I felt so proud of myself. LOL.
The other idea I had was to have robots playing real musical instruments in your living room - kind of like a player piano. You could record the physical movement of musicians playing their instruments and then play those movements back on your home music robots.
If not robots then miniature clones of musicians. You could order them like you used to order DVD' s from Netflix and receive them in the mail. When done just send them back. Mind the air holes.
I have 6 cylindrical spheres levitating in space radiating sound together with 3 subwoofers. The sound is mindbogling. Pity that i can not hear beyond 11 KHz.
The theory is intriguing.
I prefer good two channel sound for music.
Two quality channels seems better than 11 speakers for the same total price
Since my “original event” has always been the multitrack studio tape, my future system always involved allowing me to remix to taste, and the heck with that original mixing engineer. As quadraphonic was “popular” when I was in High School, my extension to that goal was “Infiny-Phonic” Sound , which gave me a 3d joystick control for every individual track, that I could then place into any point within a 3d space. Such that, for example, I could send the kick drum into my neighbors kitchen.
Can you send a bat over to my neighbors head?
All these new materials and yet paper still sounds best.
Or maybe I should say (is preferable to some people)
Head tracking, wow, that’s way beyond anything I’ve heard before! Great interview! But I’ll stick with my Sonus Fabers 🙂
the standing wave things brings up another problem. it depends where you are how well it works as well as you have even more distortion to worry about, they have to be as good and flat as there ocunter parts or it will fail. not gone happen if ur not sitting at one particulairy spot :(
Andrew is Steve Jobs in audio community.
Except he's not a sociopath.
How about reproducing an orchestra or band by recording each instrument individually, making a small speaker to reproduce that instrument, then placing those speakers in the position of the original players. Amongst many other things, the challenge would be to make each speaker as small as possible, because it would be hard to put a symphony in a living room...
Andrew Jones .. hearing his voice makes me think I am watching Top Gear.
Initially more doable with purely so-called "electronic music."
Next phase - record the meatsicles with their natural instruments and meatsicle voices which is then VR'd to perfection by synthetic means. Those files could then be modified to make whatever "room" you wanted with whatever speaker array was practical - the musical equivalent of the "avatars" we are seeing on the animated movie screen now which are also evolving to greater and greater fidelity. So, we would have avatars of musicians and their instruments morphable to whatever would be requited of them to satisfy a given audience in a given listening situation.
Legacy audio and their top speakers with dsp unit is a step in direction of recreating the sound room.
I had the pleasure of meeting Michael Gerzon of Oxford's Mathematical Institute (where He had worked on Axiomatic Quantum Theory), in the mid- 80's , during a AES convention, in NYC. Michael was there to speak on Ambisonics & Calrec's "Soundfield " Microphone. A Friend and I took Michael, to the now gone, but famous Carnegie Deli, were He ordered Matzo Ball Soup & a Sandwich. He was rightfully shocked, by the Enormity of the sandwich. He wasn't much of an Eater … always a Frail fellow. We lost Him in 1996, to Pulmonary Disease.
As to the Delivery of this Sound; there's the Mysterious John Iverson. Who I met at several occasions, when I worked with a former employer Mel Schilling - founder of 'Music & Sound' , in the Philly area). But, I met Iverson, when Schilling had already moved to Woodland Hills, CA -the San Fernando Valley of LA); at the suggestion of Arnie Nudell of Infinity. There Iverson built The Electro Research A-75 Class A Amplifier. Iverson's other "audio" Projects; perhaps would have been more "at home", a the 'Skunk Works', or the Aberdeen Proving Grounds ! Once such, was the so called "Corona Force" Speaker. Like the above mentioned Amp, had some unique properties. So much so, It's said, further research into It; was "curtailed", by Our Government ! It's said, that amongst Other things; It allowed some otherwise Deaf People to hear, by passing the Ears ! I never saw, nor heard them. But the way They was described to be, They could have describing the Louvered Pods, from Cronenberg's movie, 'The Fly'. As a matter of fact, a Tech with Electro Research swore to me; That He once witnessed a Fly enter one of these Louvered Speakers, while playing Music, and Exit out the Other ! As for Iverson, truly an eccentric fellow, He just literally vanished one day. He was living in Lake Havasu, and was building critically acclaimed Audio Products, under the "Eagle' brand. He just disappeared. Vanished without a trace, And He's still M.I.A. Some say, It was Foul Play. I'm guessing, We'll Never know.
I’m seriously looking at some ELAC towers and a center channel for my home theater that I also like to listen to music as well. I listen to all sorts of music, movies, sometimes I want to crank it up, other times I just want to chill and listen to accurate music. The only drawback on these that I see is the efficiency rating, gonna need more power than if I get Klipsch?
Was Andrew involved with the Uni-Q driver while at KEF? If so, was he the lead or a support engineer?
Also, I never heard any size Elac speaker but I hear they are power hungry, even the small bookshelves. Is this true?
Steve: Okay, so what do you need, besides a miracle?
Andrew: Speakers, lots of speakers.
Steve: Andrew, no one has ever done anything like this.
Andrew: That's why it's going to work.
This is so interesting to think about. What will this mean for the mixing and mastering process and art once we’re no longer presenting a “flattened” product?
I've heard his twin brother is involved with THX amplifiers and electronics could you ask him what he's currently involved with? Since I'm also a twin I'd be very interested in getting some of his brother's gear and match up with some of the ELAC speakers I have now wouldn't that be cool!
Great thoughts. The last idea is cool as well but unfortunately many producers will not have the greatest gear to playback to the dummy head. And the room acoustics is still a problem. Ofcourse a new market might emerge renting out these playback units.. on a container truck to wherever, next day service !
Long time ago the BBC and using the Calrec microphone with 4 90 degree capsules with 4 loudspeakers and amps to record and playback made an amazing sound but you had to listen at one center spot so never took off commercially.Mr Dolby then got hold of the market with "Surround Sound " Yuk
I wanted the ELAC UB5 but I want a soundbar replacement, so I need an amp+EQ+remote integrated. The Dayton Audio DTA-2.1BT2 looked like a great match but I can't adjust it from the couch, and I still need to add the Schiit Loki EQ. My dream setup is the UB5 with that. Right now, I'm between the Vanatoo Transparent One Encore and Fluance AI60. Any thoughts or advice? This market is frustrating and I may just go for the Klipsch Bar 48 soundbar since it's easily turned into 5.1.
I love your accent.
you need to organize those books Steve :)
Why?
Then he won't be able to find anything.
I’m betting he could find almost any title within a minute - even a cocktail napkin note contained therein.
since environmentalism is a thing ( to many ) maybe more efficient speakers would become a trend - even a small 3 db increase is a cut of HALF in power right ? they go to lengths to reduce draw on lightbulbs, TV's....
In the year 2050.
Hi
Does Andrew think new speakers will be needed for the new high definition vinyl coming next year?
Also Steve, please what is that RCA Theatre Sound Box in the background?
It housed sound system parts in a movie theater projection room.
I have the solution!! Better microphones (ionic?) , and better studio monitors. Also how come no one is talking about Aerogels?
What are they and how do they relate to audio?
@@ghostrecon3214 aerogels are very low mass strong materials like so low mass they can sit on a dandelion. I feel like they should make great diaphragm material. www.aerogel.org/?p=3
@@julianayala03
Don't forget graphene!
Not only can it be used structurally, but it can also conduct an electrical current more efficently than copper.
Once they figure out how to mass produce it at a reasonable cost, graphene is poised to revolutionize technology on every level, including audio!
None of those things will bring you closer to the original performance. Stereo is inherently flawed and a better and more complete way of conveying the original performance is necessary. That's what Andrew Jones is talking about here.
@@johnstone7697 yeah i know about this problem, john Atkinson gave a talk about this several years ago. Ill see if i can find it.
He reminds me of Ser Jorah Mormont..
Neural pathways wouldn't sound the same as the way your ear works you're ear adds characteristics to the sound it would fill alien cold mechanical
phew...my head hurts...pass the spliff...
I’m so jealous you speak with Andrew Jones this often🤓
I wonder if Andrews brain looks like his room in this video. Cheers, Andrew ;-)
I think it is Steve’s room
Must be an imposter interviewing Jones, he didn't claim to be the Audiophiliac!
A SHARK WITH FREAKIN' LASER BEAMS!!!!!!!!!
Would not want to listen to the studio monitors as many audiophile speakers are much better to listen back and re reproduce the recordings with Andrew's idea
Wow, so we don't even get to hear any actual real instruments. A dummy head in the studio placed at the mixing desk and we hear the sound of studio monitors. Hmmm. Another thought is how would you simulate the sound at the dummy head using dsp off the mixing desk? One is still processing the sound, but you are not listening to the sound of the speakers. In either case, the sound is being manipulated from the actual event. I still like live to track or live to multiple channel for the most realism for now.
Pie in the sky stuff that people have been talking about for a very long time. Don't hold your breath. Such things are already scientifically possible, but turning them into marketable products is a whole other thing. It's fun to speculate, just like it was fun listening to the auto companies telling us how we'd all be in flying cars before the turn of the 21st century.
hello, why don't you ask him what it takes for the driver to fulfill so that he can transmit as accurately as possible the electrical signal he receives from the amplifier. These are the basics. The question is in place because the drivers being measured same don't sound the same. These are the basics, once the basics are established, then it can spread over already known things that he has repeated many times in other shows. Be original, ask the essence.
As mentioned in the interview with Andrew, Only the Calrec "soundfield" microphone had attempted to "un-muck -up" the Recording Chain. So how Any speaker can gives us a "semi - decent" reproduction of a recording, is Miraculous, in Itself ! Truly, NO speaker currently can "mimic" every Microphone ever used, on every recording , ever made. And then, further hope to do so, with "Multi- Mic"-ing techniques … Good Luck ! ;-)
Who reads Moby Dick anymore?
Clean your room Steve!
Why?
I’m really sick of this guy he’s not the god of speaker 🔈 design yea he’s got good credentials,great I’m just saying everybody jumping on the bandwagon to interview him I’m tired of it no go away
So why did you click on it? why not just ignore it?
if you want real advice look at Siegfried Linkwitz site, not Andrew jones.
I knew Siegfried (RIP) for years. I also know Andrew from my loudspeaker industry days. Their philosophies are not as far apart as you might think. I don't know if they've met, but I'd be surprised if they didn't.
I'm certainly NOT A FAN of his loudspeaker designs, not to my ears any way. Even the elac loudspeakers haven't a patch on my monitor audio gr20 gold reference loudspeakers, and that's putting it bluntly, I think elac are pretty rubbish to be honest. My monitor audio's are more revealing and faster.
Better speakers out there... At a price of course.