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In Reply to: RE: Magnepan Liaison posted by SteveJewels on June 03, 2020 at 15:44:32
As the forum that probably best serves the interests of Magnepan owners, this is an amazingly self-destructive place. Perhaps it is result of benign negligence -- i.e. little to no policing allows for maximum freedoms and thus maximum bad behavior...
Unfortunately, when bad behavior isn't policed what usually happens is that all the other players walk away, leaving the bad actors to complain to themselves; which somehow becomes far less interesting. So they too leave.
When nothing is left, no one wins, everyone loses. But for some that is a seemingly better result than letting anyone but them win.
A really sad outcome for a forum largely fueled by a company that makes highly affordable loudspeakers that make many of us very happy, but doesn't have the budget to run its own forum.
You're not saying the good people have left this forum. I've passively participated (okay, lurked...) on this forum and a few others for a number of years and find it to be generally well behaved. Very well behaved compared to others. There are occasional dust ups but the outright flame wars are a thing of past. I credit the moderators for keeping it civilized here while allowing spirited discussions.
I've seen many of the same names posting here for a long time and value their opinions. I come here to gain knowledge and would go elsewhere if it meant I had to wade through a load of bad behavior to get it.
After so much rancor, I wonder if we could return for a moment to the topic which precipitated all these threads.
Many years ago, Leo Beranek very kindly wrote to ask my impressions of the sound in one of the symphonic concert halls designed by his firm, which had then been in use about six years.
The hall can be seen in the attached photo, with its four black squares on the wooden sides towards the back. These squares are covered in grill cloth, behind which are arrays of speakers which can be activated to subtly enhance any section of the orchestra the conductor might think necessary.
Before someone launches into a screed about the Lincoln Centre hall, the point is that the concept of acoustic enhancement of symphonic sound has been around a long time, and has been used at the discretion of the conductor, most probably without the audience's knowledge.
Acoustic enhancement has also been in use for some time at the Deutsche Staatsoper in Berlin, for example, and other instances may be found with a quick search.
I wonder how many of those who bemoan the existence of acoustic enhancement at concerts of symphonic music or opera can really be 100% certain that they have always heard the "real thing", without benefit of
any electronic assistance.
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