Foreword

Introduction The time-directed (or impulse-directed or signal-directed) loudspeakers represent only a small niche among all models available on the market. The concern for the most precise possible conversion of the electrical signal should actually be a matter of course in the high end. However, the construction of time-corrected loudspeakers is subject to far more restrictions than other models. In addition, the time-consuming tuning of each individual model is quite expensive and not suitable for mass production. Each loudspeaker is "tuned" individually to achieve the best possible result. Overall, the requirements in the development are many times higher, so that only very few manufacturers go this way. There are always recurring questions about time-aligned loudspeakers. First, what is time alignment and why is it needed. Next, people ask how it works. To answer these questions, the Myroclopedia was created. It contains those answers that are given over and over again and describes problems that most listeners are not even aware of. If the consideration of a loudspeaker lies mostly only with the frequency response, then its time behaviour remains disregarded. And this is not completely unfounded: loudspeakers also work when they are not time-aligned, sometimes even very well. Nevertheless, the claim for High End must be to convert an electrical signal into sound as precisely and correctly as possible. This can be done exclusively with time correct loudspeakers, which can follow a signal exactly in its time sequence. Whether a loudspeaker does this cannot be concluded from a frequency band, as will be explained later. There are four parts of the path of reproduction of sound in relation to the original at hand, or rather, let the original be defined as follows: For the sound recordings, the live sound event is the original. For the reproduction components, the recording is the original. (Strictly speaking, this applies to the source devices. For the amplifier, its input signal is the original, and for the electroacoustic transducers, likewise, the input signal fed to them is the original, for they cannot know anything else.) For room acoustics, the sound from the loudspeaker is the original. For human perception, the sound information arriving at the auditory system is the original. Therefore, should we be interested in reproducing sound events, we must strive to innovate and improve quality along the entire path of information. This is inevitably connected with the fact that at each point the respective original information is passed on in as high a quality as possible. The Myroklopädie deals with the main focus of the electroacoustic signal conversion via the loudspeaker itself and its effect in the room. Of all the components in a reproduction chain, the loudspeaker is the part that generates the greatest distortion. Consequently, the greatest distortion of the entire chain can be minimized by a good design of the loudspeaker.

Myro Xamboo

The Myroklopädie bridges the gap between the natural auditory impressions of humans, the construction of time-correct loudspeakers, the description of the associated measurement technology and finally to the question of how to succeed in recording sound events as authentically as possible. It draws on practical experience in loudspeaker development gained over 25 years and more than 100 models. And it shows ways how the usual problems can be solved by - sometimes even greater - constructive efforts. Complicated theoretical models will be addressed here, but not described in detail. Theoretical modelling with its limitations and simplifications is one of the biggest sources of errors and obstacles developers have to deal with, often without even being aware of it. A development based on a model always contains the errors of this model. Avoiding these errors, however, is an important prerequisite for advancing the perfection of a loudspeaker.
With all this it does not remain finally with the theory, since with the recordings of the Katzenberger music production Examples are available, how far the pursuit of authenticity can really succeed.

"Due to the technocratic ignorance of complex phenomena that are difficult to calculate, and due to a lack of interdisciplinary vocabulary, I continue my search for buzz words and neologisms."
Michael Weidlich

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