[Review] Getting animated
- Thread starter zanash
- Start date
- Joined
- Jul 15, 2006
- Messages
- 21
- Reaction score
- 0
Hi,
A couple of corrections are in order, firstly my lounge is large but not quite that large, 22 feet x 16 feet is more like it and secondly the Record Deck which Pete kindly sorted for me by sticking some plugs onto the tonearm cables is in fact an old Thorens 124/2.
I've no idea how this blue light thingy works, but work it most certainly did in my room. There was a clear change for the better in the bass area but more obvious (to me at least) was the apparent additional feeling of "air/space" between instruments, difficult for me to explain really, but there nevertheless.
I took a guess and suggested to Pete that if the cost of it was £250 or less then I could get interested....my interest waned somewhat when he quoted the RRP of £750. Nevertheless, that doesn't alter the fact the unit certainly appears to do what it says on the tin, I just don't think it's that good value for money. Other people may wish to agree/disagree in terms of the VFM factor.
I've deliberately left my response to Pete's visit for a few days if only to get my feelings for the blue light thingy out of my "system/System"...I'm over it now but he's coming back at some time, so I'm hoping he doesn't bring it again..I may just get tempted!
Cheers, Dave
tones
compulsive cantater
The Room Animator works purely according to the laws of Physics (the ordered movement of electrons in matter) and depends on the use of natural matter. It contains only naturally-occurring materials.
Whenever we listen to the music from a HiFi system, we need air in our room to transmit the sound. The more evenly arranged is the ââ'¬Å"sound conductivityââ'¬Â of the air, the better the acoustic behaviour of the room.
In practice this means: increased dynamics, high resolution, more detail and improved spatial definition, a more accurate bass rendition, and a more live feel to the musical rendition.
Sorry, but this is unexpurgated piffle. One goes from "the ordered movement of electrons" in one paragraph, to "air in our room " (molecules moving, nothing to do with electrons). And there is no such thing as "sound conductivity".
When you see this sort of thing, you know immediately you're dealing with charlatans, who can be totally ignored.
Whenever we listen to the music from a HiFi system, we need air in our room to transmit the sound. The more evenly arranged is the ââ'¬Å"sound conductivityââ'¬Â of the air, the better the acoustic behaviour of the room.
In practice this means: increased dynamics, high resolution, more detail and improved spatial definition, a more accurate bass rendition, and a more live feel to the musical rendition.
Sorry, but this is unexpurgated piffle. One goes from "the ordered movement of electrons" in one paragraph, to "air in our room " (molecules moving, nothing to do with electrons). And there is no such thing as "sound conductivity".
When you see this sort of thing, you know immediately you're dealing with charlatans, who can be totally ignored.
mr cat
Member of the month
- Joined
- Jul 31, 2003
- Messages
- 3,375
- Reaction score
- 5
try this too -
http://www.russandrews.com/lookup/0...TEUEZX/product-Symphony-from-Quantum-4571.htm
maybe it comes with the 30 day trial?
http://www.russandrews.com/lookup/0...TEUEZX/product-Symphony-from-Quantum-4571.htm
maybe it comes with the 30 day trial?
I've tested for electromagnetic emissions ........
theres no deviation on a compass ......for instance.
So we can discount that......
I found this on a swiss web page ........sorry about the length
schön ist es doch, daß bei
unserem Hifi-Hobby alles meßbar und
damit belegbar ist. ÃÅ"ber nahezu jedes
Detail haben sich Entwickler schon
reichlich Gedanken gemacht. Jeder
kennt beispielsweise recht genau die
Wege, die ein Signal in einer Kette
durchläuft, bis es schließlich zum
Endpunkt, dem Chassis, gelangt. Dort
durchfließt es eine Spule, die umgeben
ist von einem Magnetfeld und die im
Takt der Musik vor- und zurückschwingt.
Mit der Spule ist in der Regel
eine aus welchem Material auch immer
gefertigte Membran verbunden. Diese
Membran wiederum gibt die zuvor
erzeugten Schwingungen an die Luft
weiter. Und genau bis zu diesem Punkt
diskutiert die audiophile Szene (mehr
oder weniger seriös) über alle möglichen
Eventualitäten.
Doch was ist eigentlich mit den
Eigenschaften der Luft? Ist Luft wirklich
gleich Luft? Was bewirkt zum
Beispiel ein hoher Anteil an Feuchtigkeit
in der Luft? Vor allem stellt sich die
Frage, ob sich die Struktur des Mediums
Luft auf die Qualität des Klangs
auswirken kann? Falls ja, kann man die
Struktur der Luft manipulieren und
damit auch klangliche Veränderungen
herbeiführen? ÃÅ"ber dieses Fachgebiet
wissen wir relativ wenig. Wenn ich sage
"wir", meine ich nicht Othmar Spitaler,
der sich mit dem strukturellen Aufbau
der Luft seit langem sehr intensiv
beschäftigt. Bekannt wurde er bei uns
einer breiteren Ãâ€"ffentlichkeit als der
geistige Vater des Audioanimators,
eines mit speziellen Quarzen gefüllten
Messingstabs. Seine neuste Entwicklung
ist der "Raumanimator", ein kleiner
kreisrunder, silberfarbener Block, etwa
fünf Zentimeter hoch mit einer mittig
auf der Oberseite eingelassenen hellblau
strahlenden Diode. In audiophilen
Kreisen erzählt man sich wahre Wunderdinge
davon, wie er den Klang im
Hörraum beeinflussen soll. Zur Technik
kann uns der deutsche Vertrieb
Phonosophie nur wenig erzählen und
verweist weiter auf den Entwickler aus
Ãâ€"sterreich.
Im Innern des Raumanimators befinden
sich, so Othmar Spitaler, wiederum
ausgesuchte Quarzkristalle, die
bezüglich ihrer inneren Struktur eine
geometrische Idealform besitzen sollen.
Diese Quarze haben die natürliche
Eigenschaft, in einem bestimmten Takt
und einer bestimmten Frequenz zu
schwingen. Othmar Spitaler sagt, er
habe nun einen Weg gefunden, exakte,
harmonische Schwingungsmuster von
Quarzen über Licht als Informationsträger,
daher die blaue Leuchtdiode, an
die Luft weiterzugeben. Im Ergebnis
bedeute es, so Othmar Spitaler weiter,
die Atmosphäre im Raum werde energetisch
behandelt, wobei die anfangs
noch unregelmäßig schwingenden Luftmoleküle
in ein neues geordnetes
Schwingungsraster eingebunden würden.
Somit ließe sich auch der Klang im
Raum verbessern. Der Raumanimator
müsse zudem ständig am Netz bleiben,
weil über die Betriebsspannung die
blaue Diode gespeist würde. Soweit die
für Laien nicht immer leicht nachvollziehbaren
Erkenntnisse über das
Schwingungsverhalten von Quarzen,
dessen Erforschung sich der Ãâ€"sterreicher
seit mehr als einem Jahrzehnt widmet.
Der eigentliche Clou kommt aber
noch.
Denn es ist laut Othmar Spitaler
wohl so, daß die Quarze zwar in ihrem
Urzustand schwingen, das allerdings
nicht in der Intensität, die nötig wäre,
den zuvor beschriebenen molekularordnenden
Effekt zu erreichen. Deshalb
suchte Othmar Spitaler nach einer Möglichkeit,
die Quarze derart zu behandeln,
daß die Schwingungsintensität
drastisch erhöht wird. Diese Möglichkeit
gibt es scheinbar und sie wird von
ihm als Firmengeheimnis gehütet wie
der eigene Augapfel. Sie sei bis heute
sicherlich weltweit einzigartig, meint der
Entwickler. Unterm Strich ginge es dabei
um Hochfrequenzenergie und einem
Verstärkungsfaktor, der weit über
dem Tausendfachen des Normalen läge.
Werden Quarze einmal in dieser Form
nebenbei die Aufnahmetechnik
werden mit diesem Zubehör
zum Teil wesentlich deutlicher. Es ist
dann immer dieselbe Geige in immer
demselben Raum, weil nämlich Grundund
Obertöne unzerrissen sind und als
ein zusammengehörendes Ganzes präsentiert
werden (Mozart; "Duo in GK
423"/Igor und David Oistrach; Decca
SXL 6088). Stimmen haben nicht zuletzt
deswegen mehr Geschmeidigkeit,
Biegsamkeit und anmutendes Timbre,
wie man es sich oft wünscht und darüber
hinaus einen lebendigen Atem
(Esther; ATR LP 001). Das meine ich
durchaus wörtlich. Wer in der kalten
Jahreszeit mal nach draußen geht,
braucht nur ein paar Töne im Freien zu
singen, um an der Atemwolke zu sehen,
daß sie sich mit jedem Ton und jeder
Phrasierung ändert. Wenn man mit dem
Raumanimator über eine exzellente
Anlage Musik hört, kann man die Augen
schließen und den Atem der
Sängerin (Ester) oder des Sängers (Ella
und Louis; Verve 4003) "sehen". Zumindest
habe ich bislang "his Master's
Voice" noch nie lebendig wahrgenommen
wie mit dem Raumanimator.
Klassische Kriterien sind auch die
"links-rechts/oben-unten/vorn-hinten"-
Ortung. Nun ist es unrealistisch
von einer Hifi-Anlage zu erwarten, sie
könne ein ganzes Orchester ins Wohnzimmer
holen. Dennoch vermittelt sie
häufig eine Sicht durch ein imaginäres
Fenster auf die Musiker und damit eine
Vorstellung von den Raumdimensionen,
die sich in alle Richtungen mehr
oder minder weit erstrecken. Leichter
nachvollziehbar ist diese Eigenschaft
eine solche Wahrnehmung allerdings.
Und genau da liegt eine weitere Stärke
des Raumanimators. Mit seiner Hilfe
löst sich das begrenzende Fenster auf
und man erlebt wieder mehr Musik
(Corelli; "Concerto Grosso No. 8";
Decca SXL 2265). Das hat zwingend
zur Folge, daß über das formale Wahrnehmen
von Tönen hinaus, mehr Empfindungen
beim Hörer wachgerufen
werden. Wer ganzheitlich hören kann,
dem wird die Musik mit dem Raumanimator
viel nähergehen, sie wird ihn
besser erreichen und ansprechen. Wie
diese Mehr-Informationen den einzelnen
Hörer erreichen, ist selbstverständlich
aufgrund der subtilen Art jedes Mal
anders. Ich fühle mich mit dem Raumanimator
stärker in das musikalische
Geschehen einbezogen und bin deshalb
viel eher bereit, die Grenzen von Hifi zu
vergessen. Der Raumanimator schafft
für mich mehr Musik, mehr Klang,
mehr Freude beim Hören. Ich bin auch
sicher, er macht audiophile
translated by babel fish to ..........
beautiful is it nevertheless that with our Hifi hobby everything is measurable and thus provable. Over almost any detail developer thought already plentifully. Everyone finally knows for example quite exactly the ways, which a signal in a chain goes through, to it to the terminator point, to which chassis arrives. There it flows through a coil, which is surrounded by a magnetic field and in the clock of the music pre and back-swung. With the coil usually a diaphragm always manufactured from whatever material is connected. This diaphragm again passes the oscillations on produced before to air. And up to this point the audiophile scene (more or less respectable) discusses all possible eventualities exactly. But which is actually with the characteristics of air? Is air real equal to air? What causes for example a high portion of humidity in air? Above all does the question arise whether the structure of the medium air can affect the quality of the sound? If, can one manipulate the structure of air and cause concomitantly klangliche changes? About this field of activity we know relatively few. If I mean legend "we", I not Othmar Spitaler, which is occupied for a long time very intensively with the structural structure of air. Admits became it with us of a broader public than the mental father of the Audioanimators, a Messingstabs filled with special quartz. Its newest development is about five centimeters highly centric with one the "Raumanimator", a small circular, silver block, on the top side let in light blue radiating diode. In audiophilen circles one tells oneself true miracle things how he is to affect the sound in the hearing area. To the technology the German selling Phonosophie can tell us only little and continues to refer to the developer from Austria. In the inside of the Raumanimators are, thus Othmar Spitaler, again select quartz crystals, which are to possess a geometrical ideal form concerning their internal structure. These quartz have the natural characteristic to swing in a certain clock and a certain frequency. Othmar Spitaler says, he found now a way, accurate, harmonious oscillation samples of quartz over light as storage medium, the blue light emitting diode to pass on to air. In the result continue to mean it, so Othmar Spitaler, the atmosphere in the area is energetically treated, whereby the at first still irregularly swinging air molecules were merged in a new arranged oscillation raster. Thus also the sound in the area could be improved. The Raumanimator must at the net remain besides constant, because over the operating voltage the blue diode was fed. So far not always the realizations over the vibration response of quartz, easily comprehensible for laymen, whose research dedicates itself the Austrian since more than one decade. The actual Clou comes however still. Because it is according to Othmar Spitaler probably like that that the quartz swing in their original state, however not in the intensity, which would be necessary to achieve the molecular-arranging effect described before. Therefore Othmar Spitaler looked for for a possibility of treating the quartz in such a manner that the oscillation intensity is drastically increased. This possibility gives it apparently and it of it as firm secret is guarded like the own eyeball. It is today surely world-wide singular until, means the developer. Unterm line would go it thereby around high frequency energy and to an amplification factor, which would lie far over thousandfold of the normal one. Become quartz once in this form besides the recording technology become partially substantially clearer with this accessories. It is then always the same violin in always the same area, because Grundund of overtones unzerrissen are and as a belonging together whole are presented (Mozart; "duo in GK 423"/Igor and David Oistrach; Decca SXL 6088). Voices have not least therefore more suppleness, pliancy and seeming Timbre, like one it beyond that often wish themselves and an alive breath (Esther; ATR LP 001). I mean quite literal. Who goes in the cold season times to outside, it needs to sing only a few tones in the free one, in order to see at the breath cloud that she changes with each clay/tone and each Phrasierung. If one hears with the Raumanimator over a exzellente plant music, one can close the eyes and the breath of the singer (ester) or the singer (Ella and Louis; Verve 4003) "see". At least I did not notice so far "his Master's Voice" ever alive as with the Raumanimator. Classical criteria are also "left right/above down/in front in the back" - the detection. Now it is to be expected unrealistically from a Hifi plant to, it can get a whole orchestra in the living room. They nevertheless obtain frequently a view by an imaginary window on the musicians and thus a conception of the space dimensions, which extend in all directions more or less far. This characteristic is more easily comprehensible such a perception however. And a further strength of the Raumanimators lies exactly there. With its assistance the limiting window dissolves and one deeply felt again more music (Corelli; "Concerto Grosso NO. 8"; Decca SXL 2265). That has compellingly as a consequence that over formal noticing of tones outside, more feelings with the listener are evoked. Who can hear holistic, the music with the Raumanimator will closer-go to that much, it it will better reach and will address. As these multi-information reaches the individual listener, naturally each mark is different due to the subtle kind. I feel more strongly included into the musical happening with the Raumanimator and am therefore much rather ready to forget the borders from Hifi to. The Raumanimator creates more music, more sound, more joy for me when hearing. I am also safe, he make audiophile.
theres no deviation on a compass ......for instance.
So we can discount that......
I found this on a swiss web page ........sorry about the length
schön ist es doch, daß bei
unserem Hifi-Hobby alles meßbar und
damit belegbar ist. ÃÅ"ber nahezu jedes
Detail haben sich Entwickler schon
reichlich Gedanken gemacht. Jeder
kennt beispielsweise recht genau die
Wege, die ein Signal in einer Kette
durchläuft, bis es schließlich zum
Endpunkt, dem Chassis, gelangt. Dort
durchfließt es eine Spule, die umgeben
ist von einem Magnetfeld und die im
Takt der Musik vor- und zurückschwingt.
Mit der Spule ist in der Regel
eine aus welchem Material auch immer
gefertigte Membran verbunden. Diese
Membran wiederum gibt die zuvor
erzeugten Schwingungen an die Luft
weiter. Und genau bis zu diesem Punkt
diskutiert die audiophile Szene (mehr
oder weniger seriös) über alle möglichen
Eventualitäten.
Doch was ist eigentlich mit den
Eigenschaften der Luft? Ist Luft wirklich
gleich Luft? Was bewirkt zum
Beispiel ein hoher Anteil an Feuchtigkeit
in der Luft? Vor allem stellt sich die
Frage, ob sich die Struktur des Mediums
Luft auf die Qualität des Klangs
auswirken kann? Falls ja, kann man die
Struktur der Luft manipulieren und
damit auch klangliche Veränderungen
herbeiführen? ÃÅ"ber dieses Fachgebiet
wissen wir relativ wenig. Wenn ich sage
"wir", meine ich nicht Othmar Spitaler,
der sich mit dem strukturellen Aufbau
der Luft seit langem sehr intensiv
beschäftigt. Bekannt wurde er bei uns
einer breiteren Ãâ€"ffentlichkeit als der
geistige Vater des Audioanimators,
eines mit speziellen Quarzen gefüllten
Messingstabs. Seine neuste Entwicklung
ist der "Raumanimator", ein kleiner
kreisrunder, silberfarbener Block, etwa
fünf Zentimeter hoch mit einer mittig
auf der Oberseite eingelassenen hellblau
strahlenden Diode. In audiophilen
Kreisen erzählt man sich wahre Wunderdinge
davon, wie er den Klang im
Hörraum beeinflussen soll. Zur Technik
kann uns der deutsche Vertrieb
Phonosophie nur wenig erzählen und
verweist weiter auf den Entwickler aus
Ãâ€"sterreich.
Im Innern des Raumanimators befinden
sich, so Othmar Spitaler, wiederum
ausgesuchte Quarzkristalle, die
bezüglich ihrer inneren Struktur eine
geometrische Idealform besitzen sollen.
Diese Quarze haben die natürliche
Eigenschaft, in einem bestimmten Takt
und einer bestimmten Frequenz zu
schwingen. Othmar Spitaler sagt, er
habe nun einen Weg gefunden, exakte,
harmonische Schwingungsmuster von
Quarzen über Licht als Informationsträger,
daher die blaue Leuchtdiode, an
die Luft weiterzugeben. Im Ergebnis
bedeute es, so Othmar Spitaler weiter,
die Atmosphäre im Raum werde energetisch
behandelt, wobei die anfangs
noch unregelmäßig schwingenden Luftmoleküle
in ein neues geordnetes
Schwingungsraster eingebunden würden.
Somit ließe sich auch der Klang im
Raum verbessern. Der Raumanimator
müsse zudem ständig am Netz bleiben,
weil über die Betriebsspannung die
blaue Diode gespeist würde. Soweit die
für Laien nicht immer leicht nachvollziehbaren
Erkenntnisse über das
Schwingungsverhalten von Quarzen,
dessen Erforschung sich der Ãâ€"sterreicher
seit mehr als einem Jahrzehnt widmet.
Der eigentliche Clou kommt aber
noch.
Denn es ist laut Othmar Spitaler
wohl so, daß die Quarze zwar in ihrem
Urzustand schwingen, das allerdings
nicht in der Intensität, die nötig wäre,
den zuvor beschriebenen molekularordnenden
Effekt zu erreichen. Deshalb
suchte Othmar Spitaler nach einer Möglichkeit,
die Quarze derart zu behandeln,
daß die Schwingungsintensität
drastisch erhöht wird. Diese Möglichkeit
gibt es scheinbar und sie wird von
ihm als Firmengeheimnis gehütet wie
der eigene Augapfel. Sie sei bis heute
sicherlich weltweit einzigartig, meint der
Entwickler. Unterm Strich ginge es dabei
um Hochfrequenzenergie und einem
Verstärkungsfaktor, der weit über
dem Tausendfachen des Normalen läge.
Werden Quarze einmal in dieser Form
nebenbei die Aufnahmetechnik
werden mit diesem Zubehör
zum Teil wesentlich deutlicher. Es ist
dann immer dieselbe Geige in immer
demselben Raum, weil nämlich Grundund
Obertöne unzerrissen sind und als
ein zusammengehörendes Ganzes präsentiert
werden (Mozart; "Duo in GK
423"/Igor und David Oistrach; Decca
SXL 6088). Stimmen haben nicht zuletzt
deswegen mehr Geschmeidigkeit,
Biegsamkeit und anmutendes Timbre,
wie man es sich oft wünscht und darüber
hinaus einen lebendigen Atem
(Esther; ATR LP 001). Das meine ich
durchaus wörtlich. Wer in der kalten
Jahreszeit mal nach draußen geht,
braucht nur ein paar Töne im Freien zu
singen, um an der Atemwolke zu sehen,
daß sie sich mit jedem Ton und jeder
Phrasierung ändert. Wenn man mit dem
Raumanimator über eine exzellente
Anlage Musik hört, kann man die Augen
schließen und den Atem der
Sängerin (Ester) oder des Sängers (Ella
und Louis; Verve 4003) "sehen". Zumindest
habe ich bislang "his Master's
Voice" noch nie lebendig wahrgenommen
wie mit dem Raumanimator.
Klassische Kriterien sind auch die
"links-rechts/oben-unten/vorn-hinten"-
Ortung. Nun ist es unrealistisch
von einer Hifi-Anlage zu erwarten, sie
könne ein ganzes Orchester ins Wohnzimmer
holen. Dennoch vermittelt sie
häufig eine Sicht durch ein imaginäres
Fenster auf die Musiker und damit eine
Vorstellung von den Raumdimensionen,
die sich in alle Richtungen mehr
oder minder weit erstrecken. Leichter
nachvollziehbar ist diese Eigenschaft
eine solche Wahrnehmung allerdings.
Und genau da liegt eine weitere Stärke
des Raumanimators. Mit seiner Hilfe
löst sich das begrenzende Fenster auf
und man erlebt wieder mehr Musik
(Corelli; "Concerto Grosso No. 8";
Decca SXL 2265). Das hat zwingend
zur Folge, daß über das formale Wahrnehmen
von Tönen hinaus, mehr Empfindungen
beim Hörer wachgerufen
werden. Wer ganzheitlich hören kann,
dem wird die Musik mit dem Raumanimator
viel nähergehen, sie wird ihn
besser erreichen und ansprechen. Wie
diese Mehr-Informationen den einzelnen
Hörer erreichen, ist selbstverständlich
aufgrund der subtilen Art jedes Mal
anders. Ich fühle mich mit dem Raumanimator
stärker in das musikalische
Geschehen einbezogen und bin deshalb
viel eher bereit, die Grenzen von Hifi zu
vergessen. Der Raumanimator schafft
für mich mehr Musik, mehr Klang,
mehr Freude beim Hören. Ich bin auch
sicher, er macht audiophile
translated by babel fish to ..........
beautiful is it nevertheless that with our Hifi hobby everything is measurable and thus provable. Over almost any detail developer thought already plentifully. Everyone finally knows for example quite exactly the ways, which a signal in a chain goes through, to it to the terminator point, to which chassis arrives. There it flows through a coil, which is surrounded by a magnetic field and in the clock of the music pre and back-swung. With the coil usually a diaphragm always manufactured from whatever material is connected. This diaphragm again passes the oscillations on produced before to air. And up to this point the audiophile scene (more or less respectable) discusses all possible eventualities exactly. But which is actually with the characteristics of air? Is air real equal to air? What causes for example a high portion of humidity in air? Above all does the question arise whether the structure of the medium air can affect the quality of the sound? If, can one manipulate the structure of air and cause concomitantly klangliche changes? About this field of activity we know relatively few. If I mean legend "we", I not Othmar Spitaler, which is occupied for a long time very intensively with the structural structure of air. Admits became it with us of a broader public than the mental father of the Audioanimators, a Messingstabs filled with special quartz. Its newest development is about five centimeters highly centric with one the "Raumanimator", a small circular, silver block, on the top side let in light blue radiating diode. In audiophilen circles one tells oneself true miracle things how he is to affect the sound in the hearing area. To the technology the German selling Phonosophie can tell us only little and continues to refer to the developer from Austria. In the inside of the Raumanimators are, thus Othmar Spitaler, again select quartz crystals, which are to possess a geometrical ideal form concerning their internal structure. These quartz have the natural characteristic to swing in a certain clock and a certain frequency. Othmar Spitaler says, he found now a way, accurate, harmonious oscillation samples of quartz over light as storage medium, the blue light emitting diode to pass on to air. In the result continue to mean it, so Othmar Spitaler, the atmosphere in the area is energetically treated, whereby the at first still irregularly swinging air molecules were merged in a new arranged oscillation raster. Thus also the sound in the area could be improved. The Raumanimator must at the net remain besides constant, because over the operating voltage the blue diode was fed. So far not always the realizations over the vibration response of quartz, easily comprehensible for laymen, whose research dedicates itself the Austrian since more than one decade. The actual Clou comes however still. Because it is according to Othmar Spitaler probably like that that the quartz swing in their original state, however not in the intensity, which would be necessary to achieve the molecular-arranging effect described before. Therefore Othmar Spitaler looked for for a possibility of treating the quartz in such a manner that the oscillation intensity is drastically increased. This possibility gives it apparently and it of it as firm secret is guarded like the own eyeball. It is today surely world-wide singular until, means the developer. Unterm line would go it thereby around high frequency energy and to an amplification factor, which would lie far over thousandfold of the normal one. Become quartz once in this form besides the recording technology become partially substantially clearer with this accessories. It is then always the same violin in always the same area, because Grundund of overtones unzerrissen are and as a belonging together whole are presented (Mozart; "duo in GK 423"/Igor and David Oistrach; Decca SXL 6088). Voices have not least therefore more suppleness, pliancy and seeming Timbre, like one it beyond that often wish themselves and an alive breath (Esther; ATR LP 001). I mean quite literal. Who goes in the cold season times to outside, it needs to sing only a few tones in the free one, in order to see at the breath cloud that she changes with each clay/tone and each Phrasierung. If one hears with the Raumanimator over a exzellente plant music, one can close the eyes and the breath of the singer (ester) or the singer (Ella and Louis; Verve 4003) "see". At least I did not notice so far "his Master's Voice" ever alive as with the Raumanimator. Classical criteria are also "left right/above down/in front in the back" - the detection. Now it is to be expected unrealistically from a Hifi plant to, it can get a whole orchestra in the living room. They nevertheless obtain frequently a view by an imaginary window on the musicians and thus a conception of the space dimensions, which extend in all directions more or less far. This characteristic is more easily comprehensible such a perception however. And a further strength of the Raumanimators lies exactly there. With its assistance the limiting window dissolves and one deeply felt again more music (Corelli; "Concerto Grosso NO. 8"; Decca SXL 2265). That has compellingly as a consequence that over formal noticing of tones outside, more feelings with the listener are evoked. Who can hear holistic, the music with the Raumanimator will closer-go to that much, it it will better reach and will address. As these multi-information reaches the individual listener, naturally each mark is different due to the subtle kind. I feel more strongly included into the musical happening with the Raumanimator and am therefore much rather ready to forget the borders from Hifi to. The Raumanimator creates more music, more sound, more joy for me when hearing. I am also safe, he make audiophile.
tones
compulsive cantater
I've read the original German, and I'm sorry, this is pure, unadulterated rubbish. That quartz crystals vibrate at a particular frequency is well known (the time base for digital clocks and watches). However, then to say that this is somehow amplified (by a secret means naturally) and sprayed into the atmosphere via a blue LED (which naturally emits light at, er, the light frequency of blue LEDs) and that this has some sort of effect on the atmosphere is the most astonishing piffle. This is pure New Age, the power of crystals and stuff like that. If you believe this, you'll believe anything.
It reminds me of the infamous "Energy Polariser" of the late Peter Brock, Australia's most famous racing driver. He went all New Age and in his modified Holdens (Australian GM), he fitted this little box full of crystals, claiming that it made the car run quieter, use less fuel, etc., etc.) And a lot of Oz motor journalists, like their hi-fi equivalents, found that it did! It was a classic case of experiencing what they wanted to experience.
In the end, GM Australia, confronted with the possibility of its warranty having to apply to this thing, refused to have anything to do with it and the partnership dissolved.
A relevant excerpt from Wikipedia - does this sound familiar?
Brock, who lived hard in his early years, changed his lifestyle considerably after the failed 1984 Le Mans attempt left him physically and emotionally drained.[5]
Brock began to consult health practitioner Eric Dowker. He gave up alcohol and cigarettes, and became a vegan.[6] Brock began publicly supporting and, eventually, began to fit to all Holden Dealer Team specials a device called the "Energy Polarizer" containing crystals and magnets that, it was claimed, improved the performance and handling of vehicles through "aligning the molecules".
The overwhelming majority of the Australian motoring community regarded the device as pseudoscience.[6] Brock also recommended tyre pressures of 22psi (150kPa) for his polariser-equipped vehicles, a level which many regarded as near-dangerously low. Holden, fearing the consequences of being associated with the device and a resulting breakdown in communications over Brock's plans for new models, cut ties with Brock and set up an alternative racing/modification operation, Holden Special Vehicles.
It reminds me of the infamous "Energy Polariser" of the late Peter Brock, Australia's most famous racing driver. He went all New Age and in his modified Holdens (Australian GM), he fitted this little box full of crystals, claiming that it made the car run quieter, use less fuel, etc., etc.) And a lot of Oz motor journalists, like their hi-fi equivalents, found that it did! It was a classic case of experiencing what they wanted to experience.
In the end, GM Australia, confronted with the possibility of its warranty having to apply to this thing, refused to have anything to do with it and the partnership dissolved.
A relevant excerpt from Wikipedia - does this sound familiar?
Brock, who lived hard in his early years, changed his lifestyle considerably after the failed 1984 Le Mans attempt left him physically and emotionally drained.[5]
Brock began to consult health practitioner Eric Dowker. He gave up alcohol and cigarettes, and became a vegan.[6] Brock began publicly supporting and, eventually, began to fit to all Holden Dealer Team specials a device called the "Energy Polarizer" containing crystals and magnets that, it was claimed, improved the performance and handling of vehicles through "aligning the molecules".
The overwhelming majority of the Australian motoring community regarded the device as pseudoscience.[6] Brock also recommended tyre pressures of 22psi (150kPa) for his polariser-equipped vehicles, a level which many regarded as near-dangerously low. Holden, fearing the consequences of being associated with the device and a resulting breakdown in communications over Brock's plans for new models, cut ties with Brock and set up an alternative racing/modification operation, Holden Special Vehicles.
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Uncle Ants
In Recordeo Speramus
Now Tones ... don't get animated eh 
I don't doubt that the blurbs given for what it does are twaddle (they are). Having had it demonstrated though I'm not convinced that it doesn't do anything though, just that it doesn't work how they say it does.
Presumably the bit about Brock giving up fags and booze and going Vegan was to establish his nutcase bon fides.
I don't doubt that the blurbs given for what it does are twaddle (they are). Having had it demonstrated though I'm not convinced that it doesn't do anything though, just that it doesn't work how they say it does.
Presumably the bit about Brock giving up fags and booze and going Vegan was to establish his nutcase bon fides.
tones
compulsive cantater
its such a shame that you were not with us when we set up the animator .....it would save all the childish does - doesn't too and frow.
Lets just be clear ....100% of the people who I have demonstrated it to heard a difference.
it also seem like 100% of the people who have not heard it ...can't believe it does anything.
Does this strike you as odd ..certainly does to me. Are you saying that we all imagined what it did .....thats almost as far fetched.
Tones you said you heard a demo of the unit .....did 100% of the people present agree on the outcome ?
Lets just be clear ....100% of the people who I have demonstrated it to heard a difference.
it also seem like 100% of the people who have not heard it ...can't believe it does anything.
Does this strike you as odd ..certainly does to me. Are you saying that we all imagined what it did .....thats almost as far fetched.
Tones you said you heard a demo of the unit .....did 100% of the people present agree on the outcome ?
tones
compulsive cantater
That would be my opinion - and in a group of audiophiles I don't find it surprising. If one is predisposed to belief that something could happen, one is likely to hear it.
No, Pete, I have never heard it, and have no need to hear it to know that it's 1000% pure oleaginous hydrocarbon liquid of reptilian origin. But if you like it and what it does, whether it actually does it or not, that's all that matters, is it not? I wish you happy listening.
very poor call tones .........
I agree entirely on your assessment of the literature.....but not on the unit.
Sorry ten separate listing environments over a week....separated by upto 30 miles ....only two of the people knew I was going to play with the blue light.....no don't buy mass halucination.
you've heard from other posters they can't all be wrong ...even if I am.
When you play a track with the blue light on and you both say bloody hell together....in my book your hearing the same thing.
But yes ....I respect your ability disagree ...no problem there, in the same way cables are a closed door to you. I respect your inability to hear often subtle changes and I'm certain other people feel the same way.
Its just one of those time where we must agree to disagree .....
I agree entirely on your assessment of the literature.....but not on the unit.
Sorry ten separate listing environments over a week....separated by upto 30 miles ....only two of the people knew I was going to play with the blue light.....no don't buy mass halucination.
you've heard from other posters they can't all be wrong ...even if I am.
When you play a track with the blue light on and you both say bloody hell together....in my book your hearing the same thing.
But yes ....I respect your ability disagree ...no problem there, in the same way cables are a closed door to you. I respect your inability to hear often subtle changes and I'm certain other people feel the same way.
Its just one of those time where we must agree to disagree .....
Let me guess .......
you've not tried either the animator nor the supposed object of your jest ...
I suggest you try it before poking fun, you might just learn something. Though the thought of you providing us with a positive post thats helpful and informative would be a bit of a shock..
you are entitled to your own view.....as I am ....but where we differ is that I only post from personal experience.
But I suppose its much like all the other things you criticizes, never having heard them.
you've not tried either the animator nor the supposed object of your jest ...
I suggest you try it before poking fun, you might just learn something. Though the thought of you providing us with a positive post thats helpful and informative would be a bit of a shock..
you are entitled to your own view.....as I am ....but where we differ is that I only post from personal experience.
But I suppose its much like all the other things you criticizes, never having heard them.
of course not ...you don't do things like that.. you can tell by looking through your past posts.
Why would you want me to save money, makes no sense ?
sorry............. just doesn't wash.
its transparently obvious what your post meant....you know it , I know it and anybody else reading it does to ...
