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In Reply to: RE: New Klipsch LaScala AL6 speakers. Out of the Park! posted by claudej1@aol.com on May 31, 2025 at 08:24:55
Hi Claude
Back when we started the company and not making line arrays, we used generation loss recordings to help identify what direction was "up" when changing things.
A big problem when making a loudspeakers or drivers is any change you make can cause a change in the sound BUT usually some recordings sounded better, others sound worse. Many shape thier musical preference around what their system does well but that is out of the question if selling to strangers with different tastes.
Which changes are in the right direction? Measurements help but.....
The answer is revealed in a generation loss test, the better the speaker or electronics are being tested, the more generations it will pass before being awful sounding.
Sadly, while a modern 24/96 recorder can pass a dozen generations before sound different, most loudspeakers struggle to pass 2 or 3 generations and many have audible flaws in gen 1.
I hate to say it but what i love most working in audio, loudspeakers, are by far the weakest link in the chain.
I am reminded of what Dick Heyser said many years ago "We measure what we do, not because it tells us what we are looking for but rather we are limited to what we CAN measure".
Best
Tom
Follow Ups:
It's like how many Xerox of a Xerox of a Xerox can you make before the text is not longer readable! LOL
Or how many times a recording can be played back and rerecorded before it becomes unintelligible:
Fun experiment. Not so much in 1981, though. "We" were way past that in the 1960s. Although, today's budding musicians in college should do those kinds of experiments. It's part of the learning curve.Even some music from back then bores the snot out of me. Creativity is essential, but not this simple gimmickry.
*********
We are inclusive and diverse, but dissent will not be tolerated.
Edits: 06/10/25 06/10/25
Well, if students are doing these kind of experiments with sound it is largely because Lucier did it first (back in 1969,) and for better or worse it is one of the foundational pieces of minimalism and sound art. In music it might very well seem to be a dead end, but it is relevant to the study of resonances in acoustic space. As best as I could determine from my one class with him this was his guiding interest--along with how a simple a mechanized process could lead to indeterminant outcomes. Following John Cage, Lucier's pieces revealed how complexities intrinsic to the real material world would introduce randomness to even simple processes--chaos theory articulated in sound, if you will.
At the same time, minimalism tended to avoid any examination of the complexities of the social world that underwrote all this art making--as the left critics of the avant-garde have liked to pointed out. And even back when I was a somewhat dim college freshman, I wondered how the "pure sound" as Alvin called it related to the fancy modernist art space funded by vast oil money in which it was created.
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