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ClaudeJ1

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ClaudeJ1 last won the day on April 11 2014

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About ClaudeJ1

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    Male
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    Detroit Area
  • My System
    Living Room: 2.2/5.2=Front L&R, CenterFront, Danley SH-50 horns powered by Hypex NC400 MonoBlocs, SurroundR, SurroundL KP-250Sound Physics Labs Unity Summation Apeture horns/TD-1 Powered by Living Room: 2.2/5.2=Front L&R, CenterFront, Danley SH-50 horns powered by Hypex NC400 MonoBlocs, SurroundR, SurroundL KP-250Sound Physics Labs Unity Summation Apeture horns/TD-1 Powered by Nobsound Mini Digital Amplifiers TPA3116. Yamaha Pre/Pro CX-A5000. One OThorn and One Danley TH-50 Subs driven by 1 Crown K2 (for F/R sub channels).
    Oppo 103 for CD 2.1, HDMI out for 6.1 DVD/Blue Ray. YPAO for all listening.. Yamaha Pre/Pro CX-A5000. One OThorn and One Danley TH-50 Subs driven by 1 Crown K2 (for F/R sub channels).
    Oppo 103 for CD 2.1, HDMI out for 6.1 DVD/Blue Ray. YPAO for all listening.

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  1. The extra height happened to be part of a Maximum Material Usage Parameter that Dave and I worked out, which, otherwise, would have been scrap. The resultant, taller cab/bigger mouth, than a Klipsch MWM modeled a little bit better in Hornresp, which made the choice a no brainer. Since the goal was trying to squeeze as much bass out of a single driver below the 45 Hz. cutoff from a Klipsch MWMs, I think we have succeeded and perhaps even EXCEEDED the goal based on Dave's comments concerning "shaking things around the shop," with low frequency sine waves. LOL.
  2. I share your interest in knowing the artists names who play the instruments, the lyrics, the production, etc. In other words, all the information. They could have molded into the plastic a magnifying loupe for free, of which, I purchased many. The best loupe you can get is an old manual SLR 50 mm lens that can be had for $15-25, especially the old Pentax screw mount lenses.
  3. According to an inflation calculator, I was paying, with tax included, $55.00 per CD back then, based on today's inflated dollars. Also my Sony CD player was $2,500 in today's dollars. How soon we forget.
  4. It's cleaner running unbridged, but for which speakers?
  5. As a member of the Audio Engineering Society in the late 70's, I remember the battle of the Digital Formats between major Companies with big R&D budgets. I read all the specs from the different companies, and was hoping that Phillips would win. They did, and partnered with Sony to bring the Technology to market. I had heard a jazz recording on a Reel to Reel using a DBX 2:1:2 compander, that pushed the dynamics from 60 to 90 db. This is the same setup that Gene Czerwinski (Czerwin Vega) used to demo his recordings which made him infamous as the "High Priest of High Levels" at all the shows. That was the best sound I ever heard, back then as a 1,000: 1 improvement in dynamics, so when I saw that the CD SNR spec. was similar, I couldn't wait for it to come to market. As a member of the Audio Engineering Society, I attended a local chapter meeting in Michigan, late 1982. I found out I was one of only 3 people who owned a CD player (Sony was all you could buy then). I got my wife a pair of Oiled Oak Heresy's for Christmas and she got me the Sony CD player. Surprise! I remember going into a record store to see that most of the available CD's were $20, with a VERY limited choice, mostly classical. Meanwhile, you could buy an LP for $5.00, just to give you some perspective. Now, LP's cost $30-40 and CD's are about $10-15. What a world!! A better story was when my wife walked into the store to also buy me my very first CD to go with the Sony player (One on One by Bob James/Earl Kliugh), the lady asked her if we actually owned a CD player. "Of course I do, why would I buy a CD if I didn't a player for it?" The lady said that some people had bought CD's and returned them all scratched when they tried to play them on their Vinyl TURNTABLE!! (as seen on the first "Austin Powers" movie) As if the huge hole in the center wasn't enough of a CLUE. Talk about clueless consumers, OMG!! The brilliant/simple thing about the Phillips CD was that you had to have constant bit rate, which meant, the ROTATIONAL speed had to vary from 500 RPM down to maybe 200, I forget. So starting Laser from Center Outward made sense from an efficiency standpoint. Why? Because starting fast and decelerating over the hour of Recorded time allowed for the natural, mild friction of the bearings to slow down the Rotational Speed, without using too much braking power. If they had read from the Outside-In, like an LP, the total amount of ENERGY used, would have been much greater. Plus, the inside out reading method allowed for the creation of Larger Diameter Discs, which eventually became the I'll fated Laser Disks for VIDEO, whereby the players could play both CD's and Video Discs on the same unit. Good History.
  6. My friend took second place at the Midwest Audio Contest 2 years ago with his OB speakers called AlphaSaurus! He used Eight 15" Eminence Alphas per channel. Those tall babies get down to 24 Hz. with no trouble and almost zero cone motion. Most impressive bass from OB i've ever heard. Near Horn performance but it's about $1,000 for all 16 of those drivers!! LOL.
  7. Your magnitude plots look good. There's probably not any bass below 30 Hz. in the choice of music that caused your original post.
  8. Yep, good ol redbook CD is certainly adequate, and has always been so, until the insane abusers in the Loudness Wars took over the productions. On Kind of Blue, recorded in 1959, you can clearly hear the hiss of the master tape, since CD's are noiseless with their 96 db Signal to Noise ration vs. 60 for Tape. Yep, this whole Expensive return to Vinyl craze makes no sense at all. My good buddy accidentally ordered 2 Police Box sets on 180 Gram Vinyl for $180 per box of 5 LP's. YIKES! That's $360 wasted if you ask me. But to each their own.
  9. You will not get an argument from me on the THAT, amigo!
  10. I should add, the my best friend and World Class speaker builder, has an incredible music collection. Over 1,000 LP's (and buying more), 1,500 CD's (and buying more), lots of downloads on his Solid State Drives (and buying more). He would never touch an MP3 with a 100 ft. pole (purist that he is). For him it's MUSIC FIRST, then the medium. He has Twin Turntables, one with a Stereo Moving Coil Cartridge, the other with Mono (you don't want to hear the prices he paid). His LP's are cleaned with a $4,000 cleaning machine (he sold me his cheaper/older one), before he puts them on the tables, so they are as dust and dirt free as humanly possible. However, where he and I differ is that he claims LP's are superior in comparison, which I vehemently disagree with. It's still an inherently different WORKFLOW when mastering for an inferior, Non-Linear, delivery mechanism, analog or not. But there are audible differences, but it ain't the plastic, silicon, or vinyl that makes the difference, it's the MASTERING and the DEGRADATION of DUPLICATION, which does NOT apply to the Digital Media, PERIOD. (I have been to Artto's house with my friend). BTW, the Audio Purists of the 50's and 60's listened to Reel to Reel TAPE, which were free of ticks and pops. PWK had all tapes of his own, Purist, Twin Spaced Omni Miked, live recordings of Symphony Orchestras. I heard a few at his house and they were FABULOUS sounding. Also, with my eyes closed, ONE single tick, click, or pop noise from the LP spoils the ILLUSION for me as it REVEALS that it's not digital but the after effect of the constant contamination of and wear of VINYL. But hey, in photography, there are people who still make albumen prints and tin types from over 100 years ago, but was also the First Digital Photographer in Michigan and with big Epson printers for output, so I am biased towards Repeatable High Performance. If there's a race between 2 different cars, the better DRIVER will with the race every time, even if they switch cars. It's the PRODUCTION.
  11. And the reason is? I suspect it's because you got tired of the stupid "Loudness Wars" that kill the dynamics of any recording, good or bad. So eve though Digital Media is ruler flat from 4 Hz to 22,000 Hz., especially with modern D/A converters, it still boils down to the Quality of the PRODUCTION over the delivery mechanisms. Like I said before, the Best Recording I own is on a CD, while the Worst recording I own is on a CD. Now with uncompressed 24/96 recordings from AIX and other Purist companies (very few) Digital Media is better than ever. AIX uses no compression to use a bigger chunk of the available 135 db dynamic range of the Blue Ray Audio Medium that goes beyond our hearing mechanisms. The rest is up to the acoustic space, placement of the musicians, microphones used, and relative level adjustments on the mixing board. Flat Masters RULE!
  12. Looks like a single to me, not a pair.
  13. When you hear a mono recording on MEH's you will change your mind. The Phantom image is so STRONG, that most people think the center one is being used and there seems to be ZERO sound coming from left and right, I'm not kidding. I have to, quite often, unplug it or have them stick their head in it the center MEH to realize it's not being used (movies only).
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