Today I would like to talk about a method for adjusting an audio system with the help of recorded natural sounds. Why natural sound recordings? There are several reasons but the aim is to lighten the process of referring to real life acoustical events. First point is that such records are carried out in an open space – somewhere in the woods or in the fields – which means that they are stripped of any room resonances and reverberations. Though close miked studio recordings also strip most of the environmental acoustic artefacts, resonances and reverberations inherent to the musical instruments themselves might overlap with reverberation modes of the reproduction space, which become relatively hard to distinguish.
I postponed writing this review for quite some time, being aware that reviewing component I own and use as a reference might not be very useful to the reader. I mean LM-211IA is the best amplifier I’ve ever had in my system and since I’ve never heard anything better, I have nothing other to say but to apologetically prize its virtues and express my positive feelings toward its performance. This I guess might be pretty boring to read and that’s why I was thinking to write this review once I stumble upon an amplifier that outperforms it, so that I could have a critical point. But it happened so that Srajan offered me to write this review as my first contribution to the 6moons magazine and I had no choice but to comply.
It all started with the love for music. We didn’t have proper audio back at these communist times in the 80s, which were dominated by cheap Russian transistor electronics. I was introduced to what should have been an advanced audio system in the home of my teacher where I was taking drawing lessons together with a bunch of other kids. The room in the old house was brightly lit and we were all staring at the still life arranged in front of us.
It did not happen very often guys that I am so moved by a record that I am urged to write about it and eventually share it with you. But this time it is the case – I stumbled upon an extraordinary piece of recorded music that I would like to inform you about and draw your attention towards it.
Some time has passed since Fostex FE108-Sol drivers took the place of the former Sigma model in my back-loaded horn enclosures and I had enough time to experiment further with them. As mentioned earlier the disposal of the notch filters, necessary for linearization of the frequency response of the Sigmas, brought a great deal of refinement. I realized how destructively the combination of resistor, capacitor and inductor on the signal path could act and from the perspective of time I can say – there is no way back to use them.