philipbarrett

Not in my neck of the woods, quality live sound is completely unforgiving of the electronics! Applying a 100K watts to your input signal will magnify any noise accordingly. As discussed previously, just 'cos it's got XLR connectors on the back doesn't mean it's a "professional" piece. Serious live systems these days are using crossover/processors that cost more than your Khorns. There's a good reason for that expenditure. Also, at sea level, 9ms is about 3 meters, if you're measuring that much physical delay in a Khorn it's happening somewhere else in the signal chain. Could it be 9us?

They're on my local CL - http://dallas.craigslist.org/mdf/ele/1050201797.html Seller says the tubes are a mixed bag but both amps are fully functioning. I see PSU refurb kits on ebay for around $55, what else am I looking at? He also has an HK Citation II although it's been "hot rodded."

For a pair indecent condition? Thanks, PB

We used to use that technique live when we felt like we'd bought a knife to a gun fight! We called it a "Festival Stack" which roughly translated means "horrid beam of midrange that will carry for ever!" I've seen it done with La Scalas (!!), putting a small piece of 2x4 between the cabinets helps slightly. Not wanting to be outdone in the terminology we called the piece of wood an "audio compensator" and painted them black.

I'm looking at 6 of them right now! That speaker (in it's previous non-powered version) has been in production for over 20 years. You can find many of the the oldies still working daily with their original drivers intact. Meyer builds for longevity! Let us know how you liked the CQs, remember they require +4 pro-level to drive properly.

Ignore what he said, send it to me.

Exactly, there's a reason why most true professional active crossovers/processors cost more than a good pair of Khorns.

Wish you could too - I sold them! Got out of the Gear Rental Business to focus on the Me Rental Business! Here's the dealer in Taipei, you might give them a call. If you're looking to buy they should certainly let you demo. Winley Production Service No.2, Lane 50, Sec. 3 Nan-Kang Road Taipei Taiwan (+)886 2 2788 3375

According to the OP this is not the case. I think it must be some kind of unity gain buffer similar to the Musical Fidelity 550 Supercharger design. Interesting things these buffers, Pass Labs has some designs using this type of current gain which basically matches your preamp to your speakers. AudioExpress had a feature on this type of design last month.

According to Mr. Jone, it has to be the right kind of hot glue! How do I know this? I read the chapter on capacitors last night by coincidence. Maybe there's a buisness for us supplying Audiophile Grade Hot Glue? "I noticed a dramatic depth to the blacks and yet a clean tempo to the soundstage once I'd squirted md-pb hot glue into all my equipment's orifices." Retail price = $1,125.00 per tube.

Interesting, so there's a processor in there doing some kind of FFT? As for the speaker wiring, he is paralleling the drivers which will cause an impedence drop. For example, if each driver is 8 ohms in a 3-way box then wired this way the amp "sees" 2.6 ohms. At this point it depends on his amp's ability to drive low (and unpredictable) loads. The hi-pass capacitor will introduce a little impedence but not enough to save the average tube amp.

Not reflections but your drivers are interacting with each other. Imagine 2 sets of ripples on a pond, as they meet the audio waves combine at certain frequencies & cancel at others causing massive comb filtering. If you've seen double clusters at a rock concert (Springsteen used them), normally the inner pair is handling vocals & the outer the band. Because the sources are diffierent the interactions are minimized (somewhat anyway LOL).

So you take an amplified signal that by definition has had noise & distortion added through the various gain stages. You then take that signal, drop it back to line level & then re-amplify it back to where it was. The "technology" used to bring the level down is a power resisitor. Hmmm...

Actually it's to avoid microphonics from the electrolytics - hot glue, exactly as recommended by Morgan Jones.

First time I saw the CQs we were sceptical about the reliability of the on-board amplification so we put it on the loading dock & ran it full tilt. Took the cops less than 5 minutes to show up! Good times, good times...

I used to own 6 CQ-2s (slightly different horn pattern). Very sweet sounding speaker with a nice vocal clarity & probably the only live speaker you could live with at the house. I can't compare to the Jubilees as I've never heard them. Drop your off at my house & I'll let you know! The CQ series horns were "reverse engineered." John Meyer felt that theoretical horn design had reached its limit and started fabricating by eye & experince. The outcome was a huge pile of rejected horns (at $20K each as Helen said pointing ruefully to them) and the CQ series. The succesful designs were then measured on Meyer's custom SIM system (they have a large anachoic chamber) and the math nailed down. Meyer are a very interesting company, their attention to detail & QC process is almost without parallelis an industry obsessed with both. A visit to their sprawling facility in Berkeley is a treat & I highly recommend their SIM school for anyone who really wants to get into the whys & wherefores of professional sound reinforcement.

And film, 48 was a much easier number to manipulate into frame rates used for syncing audio & video. All the step ups are multiples of 48, 96KHz, 192KHz...

2 other issues may be in play: 1) nice, shiny cabinet door is acting as an additional baffle causing reflections 2) gap between speakers & cabinet is acting as a comb filter for the resonances produced by the cabinet itself which is then combining with the direct sound In studios we would either free-air the cabinets (hanging from chains) or build them into a soffit then pour concrete around them (obviously only good for monitors that can be serviced from the front). Even a hard pack of fiberglass insulation around the speaker was not enough to kill #2 above.

Waste of time, IMHO you'll never hear the difference between 16 Bit 44.1 & 48, make it easy on yourself and stay at 44.1 or make the jump to 24 Bit.

First edits of the band's "unofficial" live video are hitting the web. Good news is the sound quality is great (sounds like an audio board tape with some ambience mixed in). And if you're not familiar with the band this is a great place to start (some material is NSFW). Enjoy & spread the love - http://nothings.org/nin_vid/ Forget the Oscars there'll be some K-Horns rockin' tonight!

No, but I've used their other products (studio & live) extensively. The great thing about Meyer (and other top grade studio monitors) is that on the right source material they will sound fantastic. The bad thing is that on the wrong source material they will make you want to rip the arm off your turntable. In otherwords, complete transparancy, phase response & accuracy are not always advanges in a home system!

LOL - I was making up a word up to illustrate the kind of "guidence" we often get. To do this job you need a good pair of ears & to be a mind reader! I'm with you on the martial art's instructor. I often joke that the only way us old guys can get ahead of the new blood is by guile & sheer cunning.

Speaking for the studio & (in my case broadcast/live) engineers so much of it is just pure practice. If you listen critically every day you learn to recognize problems, differences and abnomalies extremely quickly. I believe very little of this skill is innate talent, most of it is learned. You also learn to compensate as your hearing changes with age and fatique. For example, you know from experience that the mix doesn't require a boost at 14KHz even though your tired ears are telling you otherwise. I guess it's understanding what needs correcting & what needs leaving alone. A lot of the job involves translating people's personal interpretations ("it sounds kinda yanky") into actual solutions (pull out some 1K - 3K) and tailoring the sound to the relevent type of event/performance. A lot of engineers use analyzers to fine tune their systems but many (myself included) still work primarily by ear. A favorite CD is played and the system tweaked until the desired result is achieved. I find this method keeps my faculties in tune. BTW my "song" is Vince Gill's "I Still Believe In You." If I can get his tenor sounding smooth, the edge off the guitar solo and the slightly forward low mids under control I'm halfway home (or at least heading to catering). Find one you like, it doesn't have to be an audiophile track, just sonically revealing and stick with it. I've been boring stagehands with Vince for over a decade! So my advice is listen, question, listen & question again. And finally, BELIEVE WHAT YOUR EARS ARE TELLING YOU! Don't dismiss a perception because it doesn't seem to be technically possible. Investigate why you feel this way, 99 times out of 100 your ears are right.

http://www.funktion-one.com/ Scroll to Products then Bass Range. These will rock your world and your pants. Prices are really reasonable for what you get, expect to pay around $2K (plus freight) for a folded, double 18" like the F218. Remember a true "Pro" 18" driver will set you back around $600. I demoed these recently and was really impresed, the designer is the original founder of Turbosound. If you look around you can get good used prices on Meyer 650 (2 x 18" front loaded, non-powered version, not the "P" series). You will need a Meyer B-1 bass management procsessor to go with them & be sure to hear before you buy as the Meyer is a no-recone driver. Check out soundbroker.com for deals & never pay retai!

Thanks, I used the word "most" since there are some products in the home world that are sunstantially more than anything we use live! Certainly, I've never bought a speaker cable for over $1,000 that didn't have at least 8 conductors & be 100' long!