5196105981

j

Bob Carver tells you (briefly) how Sonic Holography works.

(Others tell you how it sounds.)

Q. How can I add Sonic Holography to my system? A. Three different ways.

Q. Exactly what is Sonic Holography?

A. It s a term I use to point up the similarity of the sonie illusion that enables one to hear a stereo recording in three dtmensions. and the optical holographic illusion that allows one to see a fiat photograph in three dimensions.

Q. What does Sonic Holography sound like?

A. ni let others answer that for me. Hal Rodgers. Senior Editor of Popular Electronics: "When the lights were turned out we could almost have sworn that we were in the pre-sence of a real live orchestra.”

Julian Hirsch of Hirsch-Houck Labs: ‘‘The effect strains credibility—had I not experienced it. I probably would not be!ieve it...the ‘miracle’ is that it uses only the two normal front speakers."

Larry Kłem. Technical Director of Stereo Review: “...it bringsthe listener substantially closer to that elusive sonie illusion of being in the pre-sence of a live performance."

And High Fidelity put it this way: “...seems to open a curtain and reveal a deployment of musical forces extending behind. between and beyond the speakers... terrific.”

Q. How many speakers are needed for Sonic Holography?

A. Just your usual two. But for optimum Sonic Holography. the speakers must be equi-distant from the listening pos-ition, and somewhat closer together than is usually reguired for stereo.

Q. What do I hear when l'm not in the middle?

A. We’ll let Julian Hirsch describe what he heard: “still noticeably better than normal stereo, particularly in respect to a greater sense of ‘warmth’ such as is experienced in a concert hali."

Q. How does Sonic Holography differ from stereo reproduction?

A. Very significantly.

Simply put. in a live performance. each instrument is a source of sound that reaches your ears as two sound arrivais —one for each ear.

The difference in strength and arrival times at each ear provides the primary cues that your brain uses to localize and create all the sonie images.

In stereo reproduction. four sound arrivais produced by each instrument reach your ears—two arrivals from each speaker for each ear.

That's precisely two too many for accuracy. And that’s why directiorality in stereo is limited by the positions of the speakers.

Sonic Holography elrminates those unwanted extra arrivals by carefully calculated and controlled electronic tech-mques. includmg complex cross-fed interference signals. These signals combine in space with the primary signals. creating sonie images outside

and beyond the boundaries of the two speakers.

The^re is a elear sense of the acoustic space. and the spatial information (phase and timing) of the origmal performance is deployec naturaily over a brcad. deep arc in front of you.

That’s why Larry Klein described Sonic Holography in Stereo Review as pro-ducing "a far morę plausible somc illusion of space and localization than is produced by normal stereo"

Q. Isnt Sonic Holography something like time delay?

A. Not at all. The goal of time delay is to reereate only the spatial ambience of the original recording environ-ment. And to do that it requires additional amplifiers and rear speakers.

« t <*    *

/

\

The C-1 combmes the Sonic Hologram Generator with a full-function preamplifier.

The C-9 Sonic Hologram Generator allows you to add Sonic Holography to any system, including one with a receiver

Q. How can I get morę information'?’

A. Easily. Just write to us.

C R

CORPORATION

PO Box 664 14034 N E I93rd Place Wood'Ovlle Washington 98072

f

^ł - _____

The C-4000 Control Console mcludes the Sonic Hologram Generator plus: a full-function stereo preamplifier. a time-delay system with Duilt-in 40 watt (total) power amphfier for time delay speakers. the Autocorrelator system that reduces noise up to 8 dB with any source materiał, and a peak unlimiter/downward exparder that nearly doubles dynamie rangę.

( \K\KK

Clrcla 7 on Read«r-Servlce Card