Technical/Modifications
Talk about updating & modifying older speakers and other technical/electronic information here.
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Recent Posts
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You are pretty rock solid down to about 70 or 80 on most of the Heresy variants. I'm not familiar with the KEF or the specs. What does the bass unit give you for low end frequency response? -
I'm sorry to hear about your friend, you are a good friend for helping out the family. All your prices seem pretty good, especially the Rf7lls. Like others have said, location is always an issue. With you good prices on excellent gear, someone local or someone willing to travel will eventually buy these. Those RF7lls had an msrp of $3200 until about two years ago, when the RF7lll model came out, and they went up $600. They are exceptional speakers. Is @Matrixx9 watching this thread? -
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Get your bid in, I would hate to see you miss out. -
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If I were to go to that much trouble, I believe I'd just build new cabinets altogether and get the mid/tweeter up higher like the Forte and Tangents. I wouldn't have some odd ball add on cabinet in the back. Also, he is using some model of M&K woofers in there that might even be from a sub cabinet? Who knows... -
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By andrebfantunes@gmail.com · Posted
Hi Pete, Thank you for you ropinion, I'm planning to do something crazy! I've a set of Kef 107/2 and I would like to used their bass unit (cross over at 160hz) to blend with the Heresy -
I've found that recordings that have high DR ratings (based on SPL peak vs. average statistics) also seem to have been allowed to retain their originally recorded phase response. Ostensibly the reason for this is due to much lower levels of invasiveness in mixing and mastering activities used on the recording. Doug Sax, whose Sheffield Lab (referenced above) and The Mastering Lab lived by this principle--made a living wage over the years using this principle. I've found also that there seems to be a higher than normal correlation between high DR recordings and "spectral richness" in the form of a lush and inviting sound quality--which I've guessed is more correlated to phase fidelity in addition to SPL fidelity. When I flattened the phase response of the loudspeakers that I listen to stereo recordings, suddenly violin sections of orchestras sound rich and compelling--to a degree that might not be imaginable until you actually hear it. One of the issues that has been raised above is that the term "EDM" and hi-fi ("reference quality") seem to be mutually exclusive terms. Aside from that point, female vocals are compelling because most of their rich harmonic content is above 1.2 kHz (yellow lines, below, and depending on whether the vocalist is a soprano or contralto, etc.), and usually must be recorded with thinner amounts of orchestration in order that their voices are not drowned out by the harmonics of "rich" spectral content instruments, notably solo violins and guitars, which compete harmonically with the female voice more so than male voices. So to answer your question, I find that vocalists whose albums rank high on the DR database chart are usually good bets. Lower DR rated albums usually sound flat and un-involving. Here is a chart showing the average DR ratings (crest factors) for different music genres as compiled by a researcher at B&O in a JAES article: Chris
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