Hello Srajan, I just read your Audionostrum review and wanted to congratulate you on furnishing us with very valuable background information. There is very little discussion in our space about all the learned aspects of deeper listening and Mr. Gallart's mention of neuroplasticity and the special hearing skills developed by orchestral conductors and pianists was a great reminder that we don't all hear alike or are capable of the same differentiation. I also found the designer's explanations and reasons for his tweeter array most interesting about which his own website is far more perfunctory. I know that you didn't attend Vienna and instead look at various show reports like all the rest of us. Did you by any chance already see the SoundStage Global mention of the Audionostrum exhibit with Vinnie Rossi? If so, what did you think? Again, thanks for a very illuminating article on the Saturn Pandora speaker. Best regards, Louie
I did see the report in question. What did I think? The 'disaster averted' header felt very click-baity, certain word choices (Gabi knows her shit, the system sounded ass) questionable. But I was left with a bigger question. If the same system, without any changes, could sound ass on two tracks and fabulous on all others, what is the intended takeaway other than setting up the headline? The writer never explained it. Meanwhile this sentence highlights the limitations of most show reportage: "The two drivers are running in a sort of push-pull manner, although it’s much more complicated than that, and somewhat beyond the scope of this quick-and-dirty show report." If one wants to knock out such a report in nearly real time, one doesn't have the time for more in-depth coverage; or opted not to spend more time in a given exhibit by favouring quantity (see/hear more setups) over quality (pick a few and go deeper). So it becomes quick'n'dirty and here leads to a rather questionable headline. But since you asked for my feedback, what did you think? Srajan
I simply felt that the tweeter explanation you quote is really lacking. If the writer knows it's more complicated and beyond the scope of his article, his phrasing suggests that he in fact does understand it better, just couldn't be bothered to explain it to us. I hadn't really focused on the other points you made though in retrospect, I do find them most valid. So thanks. Louie
It took me a few email rounds with the designer to learn about how his unique tweeter array works and why he has it. That meant a few days of exchanges. The type show reportage SoundStage does—it starts whilst the event is still ongoing—can't make time for any of that. I think you're asking for too much; or, want a different type of reportage altogether that would post a week after a show has concluded. It's one reason I no longer do shows. I can go deeper from my home office. But SoundStage do provide a narrative for the rooms they select to feature; unlike massive photo dumps elsewhere that can't even bother with marginal photo credits or editing out dupes and underlit images. It's easy to be critical of course. Only attempting to do an actual report of a venue as massive and unfamiliar as Vienna will tell you just how demanding it is. It's extreme sensory overload, long hours pounding the pavement, plenty of notes or flawless memory then after-hour work writing, editing words and photos and publishing a report. I've done many of them over the years. I don't think you have done a single one. So there is that. How I look at it is very basic. All of it is more than nothing. Somebody made an effort. I can peruse it from the comfort of my home free of charge. Naturally I have personal preferences. Ditto everyone else. The more the merrier. To each their own. Pick what works for you, hit 'next' for what doesn't. It's really not complicated. But no matter your feeling on any given reportage, do send some luv their way. Someone took time out, spent money and did work to bring it to us whilst we remained home and now don't pay a penny to read/view it all. Srajan
