Thank you George for your response. The height simulation can be adjusted simply by changing the way the loudspeakers are splayed. Usual spaying uses conventional implosion technology. To get as some vertical cues, one must look into a different type of output parameter that really needs not have the usual multiplicity of drivers, rather, employment of active acoustics in conjunction with active devices. Having 100's of drivers is old school for this. It can be accomplished with wave synthesis in a scaled down platform but some of the key ideas to this are still under development. This type of acoustic manipulation will find itself in a much smaller and much more viable package in the next few years.
Will studio engineers embrace the format? Lets certainly hope "yes" and not "confusion of what to do"
My studies in this arena have certainly made me become a "hell of a lot better" 2 channel engineer. Once the mind is exposed to what "can be" then doing things with "what you have", takes on a whole new level of possibilities.
Certainly, one who has experienced "waveform synthesis in the art of acoustic projection" will do things at a different plateau!
These studies are really doing real things. I find the paradigm shift to be something perhaps in our lifetime, we can all not only experience but be active in the reconfiguration of our archives to work well with the plethora of processes open to the engineers and of course the end users.
I posted this to see where the minds of my peers are in respect to these kinds of major advances in the capture and reproduction of sound. I actually think (hope) that when audiophiles catch a glimpse of this truly amazing technology, they will actually abandon the idea of 2 channel once and for all. If not audiophiles, then everyone else! This is nothing like "surround sound" This is actually making a constructed pattern of air motion emulate what the actual physical item in time and space would do with the air motion. These ways of constructing and synthetically manipulating the actual pressure zones of air motion are definitely the future. It will also render the copyright and artist production issues in a new form of resolve. Think of the hardware/software and ability to have something truly "hack-proof"! Producing these systems in a smaller scale and affordable for both studio, artist and end user is the key.
Getting this technology noticed is the other.
So many people are so mindset in what they feel is the way things should be. One listen to this technology certainly changes all of that.
BTW, 64bit platforms are making this work so much more viable than ever. 128 bit platforms may be the key to making this technology something easy to render and embrace as something that should eventually become "mainstream"
From Mono to Stereo, to 4 channel to surround, I cannot think of another advancement in audio that would not be more natural.
The flat earthers will certainly rebuke it...but thanks to those with open minds and a willingness to push the evolution of audio, this may just happen in my lifetime. I am certainly doing my part in this...whatever it may be..
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I've heard this system in several venues over the past two years. Wieslaw Woszczyk and I heard this together at Fraunhoffer in Ilmenau and were blown away.
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Well, this should speak volumes. Our Maestro himself certainly feels it to be an "advancement"
