To watch Edgar Kramer’s video interview clickhttp://www.youtube.com/
Well what a great day we had last Saturday demonstrating our Emergence 2.1 Active
Speakers Acoustic Hologram Generators to the Queensland Audio Society.
What amazes me is how an early 1960s recording of Astrud Gilberto “Girl from Impanema’ sounds better than the latest ‘wiz bang yow’ recordings of contemporary artists. What where they doing right back then and why did we fix it?
Looking forward to presenting to the New South Wales and Victorian groups in the near future.
If ‘impressions’ are measured by the amount of questions then they where impressed.
Joe Hayes – 2011NOV14: 5pm
When I graduated from my electrical engineering studies I knew what I wanted to do – make violins of course! I went to the local luthier who calmly explained that instead of him paying me an apprentice’s wages I would have to pay him tuition fees because I would slow him down and make him less productive.
OK, I needed another approach.
I discovered the Master of Science (Acoustics) coursework studies at a university in Sydney. I moved down and started studying while working as a tutor in electrical engineering. Dr Anita Lawrence there was wonderful. She had 30 years plus of psycho-acoustic knowledge and a bibliography of contextual research she shared with us. Slowly I put together my own understanding of musical instrument acoustics.
Soon I had enough understanding to start PASSAC, a company specialising in amplification of acoustic instruments. I moved into studying musical instrument resonant patterns and started to see prime number relationships. Next at PASSAC we made electric guitars sound like acoustic guitars. Things were getting very interesting.
As my understanding progressed and I put it all together – the work of Edmund Zwicker, the prime number resonances, the pitch detection of MIDI guitars, and the Chladni patterns of modes of vibration of the musical instrument soundboard – I suddenly could see something extraordinarily special. Perhaps the secret behind the Stradivarius!
But instead of building a musical instrument I built a pair of loudspeakers.
With the help of Frances Mahony I built the 1st pair of Acoustic3D prototypes 20 years ago and they sang like a natural voice. I had obviously fixed a major issue with loudspeaker sound reproduction. I had unlocked the magic of the Stradivarius but put it inside a loudspeaker! In this way everything could have the same sound quality as a Stradivarius and Acoustic3D was born to bring quality listening to the people – all the people, not just the ones who can afford $30,000 speakers!