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Showing content with the highest reputation on 01/24/20 in all areas

  1. 4 points
    Signs of the times...
  2. 4 points
    Why would you want to avoid banging those woofers? They look very nice I'm thinking "busy bangin' something else."
  3. 3 points
    Looks like it would sound like a$$.
  4. 3 points
    Should change the name to BBAG Ball Busters Audio Gathering
  5. 3 points
    Mornin' all About mid afternoon for me. Got up at 2...AM. By the time wife got up, I've had breakfast. Beans, eggs and fresh bread... which I put in the machine, since I was up. Downed a pot of coffee. Haven't experienced that intermittent since I was set to do something about it. I hate intermittents. I did install some drivers in the programming. I think... I'm really, really dimass where computers are concerned. Did any of you watch the Jeopardy match against Watson? Some of the clues sent that computer into a tail-spin. That's how I think most of the time. Not too linear.. as I ramble along.
  6. 3 points
    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 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
  7. 3 points
    Audio is a journey. It evolves over time. Here is my stereo system turned home theater staring in 2002 and ending in 2020.
  8. 3 points
    The speakers are starting to look like they belong together.
  9. 3 points
    Well you're halfway around the world from me, but I know how lucky you are for picking LS over the other Heritage. And your modded bass bins... I saw the thread on that when I joined here a couple of years ago. ...Now I'm feeling a little lucky right now, jamming on some old Steve Miller that I have not heard in a decade at least. And no scratches on side one... nothing the ultrasound would not make sound pristine, my roomie says he's talented and let me crank it Bobbie Sue, whoa, whoa, she slipped away Billy Joe caught up to her the very next day They got the money, hey You know they got away They headed down south and they're still running today
  10. 3 points
    I must agree My system be it highly customised from the original - really makes brass horns, orchestral and voices shine Don’t know how lucky I am 😎
  11. 2 points
    I wanna see two autonomous car driving robots get out of there cars and beat each other.......
  12. 2 points
  13. 2 points
    Those of us who attended Chief Boneheads class last Oct. listened to a very well done listening comparison between the Heresy III and Heresy IV. The comparison was in the listening room of the lab and was about as controlled as one would ever hope to expect. You will be hard pressed to find an attendee who would say the IV is not a significant improvement over the III. I'll be the first to admit I'm not blessed with the Golden Ears many claim to possess, however, I do trust my ears implicitly. The most significant improvement to me was in the bass response. Simply put, the IV sounds like a MUCH larger speaker than the III. I would suggest you wait on your purchase until you've listened to the IV...and save your penny's in the meantime. The IV's are a little more $.
  14. 2 points
    I just made an agreement to pickup the speakers and tuner on Saturday,I plan on using them in an upstairs 3 channel system for audio and video.My wife likes the finish of the cabinets compared to the Lascala II’s in black Ashe finish.
  15. 2 points
    I love Duratex but even I draw the line somewhere. That said, they’re probably worth $500 to a local buyer. Cash in hand would possibly get a small discount. FWIW, I doubt that’s Duratex. Your “bedliner” comment is spot on, as well as lump on.
  16. 2 points
    It really tied the room together
  17. 2 points
  18. 2 points
  19. 2 points
    Sorry brother! I was running an XPA-5 though an Onkyo 717 AVR which finally had the dreaded and well known HDMI problem fail a few weeks ago. I've been looking for just the right deal for a pre-pro and my needs are pretty basic. I think this will be a good fit.
  20. 2 points
  21. 2 points
    I was talking about her woofers 😁😁😁 Mark
  22. 2 points
    I recall that listening to those Khorns in the early 80s & the stock barely used `90 LaScalas a year and a half ago that they were made for vocals and alto sax and horns! Ok this is the last pic of my new record restorer, and that's my new name for it! The Dickie Betts sounds good, rich bass..clean vocals and highs for being so old Live Allman Bros took up the other two slots. Still had some needle drop damage at the beginning of the only one I've played so far, but the smudges, finger prints and who knows what else the TurgiKleen took care of. Guess there's no fix for scratches, can't do magic. Drying them isn't fun, but the results are! These are waiting for me to go and dry off in the kitchen now. Homage to @Tigerman with my caramels, the coffee's gone so they're safe for the rest of the night!
  23. 2 points
    Today it’s a Louis Armstrong compilation This album is a Mono release from 1969 Artist & Title - The Louis Armstrong Orchestra 1935-41 A Chronological Study ID - Mono 707
  24. 2 points
    I was "Prime" back in '69. Not so much now.
  25. 2 points
  26. 2 points
    I think that the following article describes the source of the main portion of the sibilance problem with digital sources. It's mostly due to the mastering EQ used. The following figure was extracted from the linked paper below. The figure has been edited to show an approximate acoustic-only spectrum without EQing present (the red line is approximately what you'd record if there were no amplification of instruments or voices...no EQ): http://www.mountain-environment.com/AES_paper_1996_4277.pdf. You would have to get the original stereo downmix track to avoid all sibilance problems, and perhaps not even then if the front-of-house (FOH) guy boosted the highs in concert after on-stage amplifiers are used, and recorded after FOH EQ. The solution to this problem is to demaster your recordings. Then you'll avoid 90 plus percent of the problems with sibilance. ______________________________________________________________________________________ The playback part of the puzzle is probably most strongly affected by the SPL and phase response (flatness) of your setup, as well as the reverberation times and the level of early reflections in the listening room. I've found that the flatness of the phase response of the loudspeakers has a lot to do with perceived harshness, treble balance, and with that, problems with sibilance. There is a discussion on this part of the problem starting here, for the effects of flattening the phase response of system: https://community.klipsch.com/index.php?/topic/182419-subconscious-auditory-effects-of-quasi-linear-phase-loudspeakers/&do=findComment&comment=2380538 I don't believe that swapping out amplifiers is going to change much of anything. If it does, it's probably to the degree that the amplifier is subtly changing the phase and/or SPL response of the loudspeakers due to output impedance differences of the different amplifiers and the susceptibility of the crossovers and individual drivers/horns in your loudspeakers to be affected by the impedance shifts around 4-8 kHz relative to the other parts of the SPL and phase response. Chris
  27. 1 point
    Even an Autonomous vehicle should have a pilot, one like Johnny Cab in Total Recall, which I landed on the other day. 😀
  28. 1 point
    By that standard, nothing meaningful has happened since the ancient Romans (they had indoor plumbing). OK, rapid transportation is just a matter of convenience, or is it? I would posit that the instantaneous communication across the globe is more than just convenient or entertaining. Other true milestones might include the power to completely obliterate life on earth held within the hands of a single species. That being said, I would give it all up to maintain indoor plumbing.
  29. 1 point
    Ah....... yea. True of each and every one of us. Everybody else too.
  30. 1 point
  31. 1 point
    Cost does not reflect higher quality IMO, it's just like audio, the least amount that you can spend to satisfy your taste is enough. On my second bottle of Amador, and at 40 per bottle, I like it just fine, although with the same $40, I would still get Taylor Small Batch, which IMHO, is the best $40 of bourbon that I've ever had.
  32. 1 point
    I would imagine that we have a couple accountants here and they will be able to help you. I'm not giving anyone advice on taxes, with the exception of pay the least amount you can within the confines of the 5000 page tax code.
  33. 1 point
    I'm with you on that, I hate when the music cuts out I recently had a computer problem, I thought, but it was just me not knowing what was going on. I use a laptop to stream music and it was connected through the headphone jack. I wanted better quality and the laptop had a HDMI output so I hoped that would help. I connected the HDMI and was happy, it was better quality but about 15 minutes the sound would cut out. I downloaded updated drivers hoping that would help but no luck. One day while playing with it I happened to be standing right there when it cut out and I seen what happened. What was going on was when the computer screen went to sleep/off the music switched to the laptop speakers and not the stereo. For some reason it sleeping stopped the HDMI connection and sent the music to the computer speakers. I set that sucker to not sleep and everything is fine, it really is a better connection for sound quality, one less conversion from digital to analog and back to digital. It mad a pretty good difference.
  34. 1 point
    I am bringing the big hammer.
  35. 1 point
  36. 1 point
    The answer is "yes". But the problem is that the people doing it (the mastering people) are not using the same type of loudspeaker that we're listening to--they're typically using something like Yamaha NS-10M (studio) monitors or similar. Below you will see two typical "nearfield monitor" types that still represent a large portion of the music mastering studio world: Auratone 5C Sound Cube Auratone 5C Step Response (On-Axis): Auratone 5C SPL Response (Blue and Green Traces Only): Yamaha NS10M Studio: Yamaha NS10M Step Response (On-Axis): Yamaha NS10M SPL Response and Harmonic Distortion: I'll point out that the type of monitors that are used in mastering have a much more profound effect on the finished music tracks than I ever realized--and I found that out last May after flattening the phase response of my Jubs. I'm still going through most of my demastered music tracks and re-editing them, typically starting over by ripping the original CD tracks again. What I've found was simply changing the phase response of the loudspeakers in the crossover region dramatically changed the sound of the music tracks--yielding much more perceived bass and much less strident, even dull sounding tracks than on my Jubilees/TAD 4002s using regular fourth order (or even first order) crossover filters. I've stated this in the "Subconscious Auditory Effects of Quasi-Linear Phase Loudspeakers" thread. Here is the difference in phase response that I'm talking about that made all the difference in the world: ...and the difference in step response (Green = Before, Blue = After): I haven't talked a lot about what happened since last May when I first heard the difference between "typical loudspeakers" with lots of phase growth due to higher order crossover filters, and ones that exhibit minimal phase growth (i.e., minimum phase). Instead I've sought to first understand just how the relatively minor change in loudspeaker phase response through the crossover region (i.e., no real on-axis SPL response changes) could really affect the sound of the music tracks. It's been eye opening and humbling at the same time, and it shows me the magnitude of the problems that are faced by those preparing music tracks for release to the public (that many of the people involved may not even realize they are facing). There is a lot of "local knowledge" that keep many of these people from changing anything in the studio, especially the brand and model of monitor loudspeakers used. (The acoustics of the studio rooms that they use to do their work is another story, however). In a way, my eyes and ears have been opened to just how sensitive these factors are in mastering music tracks. Because of this experience, my feelings about required loudspeaker performance is tending toward more stringent performance requirements for SPL response flatness and phase response flatness than any current practices are to be able to call loudspeakers high quality or hi-fi. So the bottom line is that the "translation" process of mastering (i.e., mastering with very mediocre or poor monitor loudspeakers that are representative or are thought to reflect the median of what most customers are listening to) profoundly affects the sound of stereo music tracks--most notably popular music like pop, rock and its derivative genres, and jazz, where the mastering people most often use less-than-spectacular monitor loudspeakers to set the mastering EQ levels. Chris
  37. 1 point
    Welcome to the forum. You didn't say what receiver is powering your new setup but it sounds like you are shooting for a surround system, like 5.0 or 5.1 in the end. Consider this, while watching a true dolby digital broadcast/audio signal like a blu ray movie, easily 80% of the dialog/sound comes via the center speaker. If it was me, I'd run a phantom center channel for now, and my next purchase would be a subwoofer to augment your R-41Ms. The 41s go down to ~ 60 hz so you won't be hearing most of the Dolby Digital LFE signal for sure. Most of the modern late model AVRs (I know Denon, Sony, and Yamaha AVRs do for sure) allow you to run a phantom center channel in its settings (4.0 speaker layout setting). I have been running a phantom center for 5+ years and it functions quite well. I have Cornwalls for my mains L+R and space limitations preclude a matching center (Like a Heresy). Try it out, you might like it. A good sub would def be my next expenditure for you imo. It will add a great impact to your home theater (Low frequency effects), and help with LF sound reproduction (bass) in music sources too. Again, most modern AVRs will allow you to choose a crossover point for all of your 41s to the subwoofer. Most common is 80 hz, 41s set to "small" in AVR. If low bass reproduction isn't really important to you, then yes the RC-42II is a good match for your 41s.
  38. 1 point
  39. 1 point
    I was guilty of calling them twice to figure our when they would ship. Hopefully I'm won't be paying for that call now. I'm going to take Chris's and Rudy's advice and let them break-in over the next couple days and then re-measure. Nonetheless, it would be interesting to see left and right measurements for each pair that people have purchased here.
  40. 1 point
    It looks like you grabbed it before me as I have not heard back from Emile yet. Congrats!
  41. 1 point
    IMHO - 99% of sibilance from vinyl recordings is from undamped cantilever resonances in the pickup. I cut my teeth on GE Variable Reluctance on Garrard RC-80! I watched Shure M-55E's jump out of the groove! Had a collection of ADC, Empire, M/A, Ortofon, Shure, Stanton all mounted on headshells for quick A/B/C in 1974. Best overall was ADC XLM Mk II - better trackability than Shure Supertrack!
  42. 1 point
    Use dynamic range database to check for versions of your favorite releases.
  43. 1 point
  44. 1 point
  45. 1 point
    ...and SOLD! Happily they are going to a great member on here who will be using them for what hopefully will become a successful music-related project.
  46. 1 point
    Didn't say he wasn't gonna eat it..
  47. 1 point
    By the way, one of the tools of the trade (mixing) is to use a multi-band compressor with one of the frequency bands centered on 4.5-8 kHz to catch the hard sibilances during the vocal track recordings (before the mixdown tracks), so that most of the time, the effect of the vocalist's hard consonant sounds does not affect the overall frequency response of the vocalist's track--only the hard sibilances are caught. That's one of the better uses of multi-band compressors. The problem is, not every recording or mixing engineer apparently does this, so we have a lot of stereo recordings full of hard vocalist sounds into the microphone. Chris
  48. 1 point
    That goes with anything you hear, once you hear something you don't like it's almost like you listen for it. A forum member here (Luther W) had a word he used to describe how speakers preformed which made alot of sense. He called it resolving power, the better the speaker the more it reveals any flaws OR also the better recordings.
  49. 1 point
    Just send him your bank info so that he can make a direct deposit.
  50. 1 point
    Why is this? If they're in the same plane as your mains they'll be out of phase with your mains. You should check phase with pink noise or test tones using an SPL meter.
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