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Everything posted by Marvel

  1. jt, DOes the organ have a blower on it or do you have to pump it manually? It is quite beautiful as well. Marvel
  2. You could buy your own and not violate the copyright laws. Since they aren't yours, you can't legally make copies of them. That's my two cents, but I have too many friends who are working and recording musicians who depend on the sales of their CDs to say otherwise. Marvel
  3. Michaelstano, A friend of mine in Memphis bought an old house that he began fixing up. He had a front room with a door off the living room. To the right was a door into an inner hallway, a fireplace and a bookcase on the left of the fireplace. He and his dad put all of his audio gear on the bookcase. I told him he should have built matching shelves on the right side, removing the door and providing rear access to the gear from the hallway. It was one of those headslappers. trying to get behind gear to work on it is really a pain. Marvel
  4. Andy, All those reasons for not putting them in production models makes a lot of sense. I just posted this on another trhead, but look at Erik Froker's site at www.volvotreter.de and look at the link for his old system. He made mini LaScala clones with a 10" woofer and a tractrix horn on top. He has those braces on those he built. His new system looks pretty cool as well. He is using a KHorn as a subwoofer. Marvel
  5. Tom, From the looks of the pics on the Martinelli site, they aren't CD horns and he calls his 800Hz horn a radial. Erik Forker's site at www.volvotreter.de has his tractrix calculatr and some cool things he has made. Including a friend who made horns from glued up mahogany (four saw cuts). Marvel
  6. Does this mean we're getting old? Sounds like some old folks talking about all the operations they've had. Marvel
  7. Dave is sure correct about there being no degradation when copying digital files. You WILL have degradation if your copies are being ripped to MP3 files. If you pull them off to wav files there should be no difference in quality. The size will stay the same then though. I have made an mp3 at 320kbits from a 24bit/88.2 wav file. The file is way smaller and the quality is quite passable. If you stuck both of them in wavelab I'm sure you would see a difference, but for playback in the living room it still sounds okay. Marvel I had forgotten the 3M machines. They were BIG too. A friend of mine still has a four track master of something of mine, done on a 3M. Now, where does he live ...
  8. Frode, Below is his original about the LS mods: The taper rate of a LaScala is 100hz, The mouth area is good for 125hz. Below this it is a big woofer in a small sealed box. If we plug the T/S parameters for the K33E into a box program we will see that the Qtc=. 85, the Fc=82. 5hz, and the F3=70. 9hz . If we close in the back of the high frequency cabinet and open the woofer rear chamber up into this volume and fill with fiberglass we now have Qtc=. 577, Fc=58. 2hz, F3=73. 6hz . Bessel=Qtc. 577=D2 gives the best transient response and the least group delay of all the sealed boxes. At 30hz the Qtc=. 577 has 4. 5dB more output than the Qtc=. 85 . Compared with sealed enclosures, the transient performance of the best vented enclosure is worse than the best sealed box enclosure. Since we have made great gains in performance some may elect to stop here. But please read on. The next step is to port it. The K33E is not the optimum woofer for this but it works pretty good. With the box size optimized for a D2 we can port the stock woofer to an SC4. The transient response of an SC4 while not as good as an SBB4(more on this later)is better than the more common QB3. Unequalized the F3=49hz and has 3dB more output at 30hz than the D2. The response curves are parallel with the D2 the only difference being the Fc being a half octave lower with the SC4 and the output being 3dB higher from 30~70hz. The output of the SC4 does not drop lower than the D2 until you go below 17hz. Again this may be a stopping point for some. But by adding a simple two pole high pass filter ahead of the power amp we can now have a C6 with a -3dB point of 31hz. Since this is the Fb of the system there is no increase in cone excursion or distortion. The filter consists of a cap an inductor and a pot. The pot allows adjustment at Fb of +/- 3dB. This is similar to being able to change the Qtc of a sealed box from . 5~1. 0 . If you think about it we have the choice between a D2, SC4, and a C6 in the same box by plugging the port and/or bypassing the eq. If you have a SET amp or simply want to get the most out of the LaScala you will want to upgrade the woofer to something with a lower Qts. The Klipsch K43E does the trick, as do the EV DL15W and the JBL 2205. The EV and JBL drivers require some minor network changes. The lower Qts drivers allow for an SBB4 alignment which has the best transient response of the vented alignments. With no eq they have 3dB more output at 30hz than the stock woofer. With eq we have a maximally flat B6 and the F3 of the system is 27~28hz. If using a solid state amp with the low Qts woofers a small resistor must be added in series with the driver to have the same Rg as the SET does. This mod can be backed out of a stock LaScala with no externally visible changes if you don't like it. No one has ever gone back to stock after hearing this mod. Paul Klipsch was violently opposed to the venting of horn speakers bassed on his experience with venting the K-horn. In retrospect it is easy to see why. The 12" Jensen field coil woofer he was using had an Fs of 60hz and a quick calculation of the vent area vs the Vb based on the photographs of this experiment looks like an Fb of ~80hz. I am sure this sounded horrible. Paul Wilbur Klipsch is a giant in audio. If I appear to see farther than PWK it is only because I am standing on his shoulders.
  9. You could take a horn you like and model it in wood. Easier said than done, but if you have the tools available, why not give it a try. Marvel
  10. Easyeyes, So clarification may be in order. Most consumer R-R are quarter track stereo, on quarter inch tape. You record two stracks (stereo) in one direction, get to the end and flip the tape and do the same the other way. The tracks are split, so you record (and play back) on tracks 1-3. Tracks 2-4 are lined up to record or play back when the tape is flipped (becoming 1-3 in essence). The early two track machines used half inch tape in one direction. The tape and electronics dictated that for the quality desired. Then they cam up with a three track on half inch. I have a CD remastered from a three track tape. Then they made a four track on half inch tape, where you could record all four tracks at once (mix down later). Eventually, Les Paul worked with folks to make a one inch eight track (not to be confused with auto 8 track cartridges). Then he could overdub more guitar parts with himself (was going to say play with himself, but that doesn't sound quite right). As tape and electronics got better, they moved to 2 inch tape and 16 or 24 tracks, utilizing Dolby NR and dbx NR. Then the prosumer stuff came out with half inch and 16 tracks. The tape costs are considerable, as well as how heavy duty the transport had to be. The older big decks had 1 1/2 inch cast and machined aluminum chassis for the hub motors and head blocks to mount on. No wonder they cost in the thousands of dollars ( not $3-4, but $30-40k and more). If you ever saw the tension get messed up on a big R-R when in fast forward, with the reel weighing in at about ten pounds or so it isn't a pretty sight. Marvel
  11. TAD (Pioneer) has a couple of wooden horns, around $2300 each. Lots of folks have made their own. Marvel
  12. A frequent poster, djk, has a mod for the LS bins, that does use the K43 (among other things). He took a full size LS cabinet, opened the top of the woofer section into the up squawker area. Then sealed the back. He made the internal volume for the woofer larger and got better bass. I made drawings to add a box on the bottom of an LS, accomplishing the same thing. I just haven't built it yet. There were some other things he did as well. Marvel
  13. At this time, the best place for Heresys is in my living room. Alas, they don't reside there. Marvel
  14. You could get an Ampex as well. Some of the two tracks were actually made by Tascam, the professional side of Teac. My 3340s is a tank, but needs a pinch roller and a few other things. I have moved some tapes to the pc at 24 bit, and made some mixes. They sound very good. You could throw Fostex into the mix as well. Some of their machines are solid. Not nearly as solid as the Otari, Ampex, Studer lines though. Or the older Scully machines. Did an albom on Scully four tracks once. Marvel
  15. The 'accomodating' for reel to reel decks shouldn't mean more than another set of line inputs. They aren't magic. Just finished reading an article by a mastering lab, and the owner prefers to get masters from studios on 1/2 inch tape. He can deal with any format, including 16/44.1 and up. I still have my TEAC four track reel to reel. They still have their places. Although you hear so much about ProFools, er, Tools, there are still a lots of studios using two inch tape decks. Maintenance is pretty high, and tape costs are high (reel of 2 inch tape is about $135). For the consumer, tape is about $24 for a 10.5 inch reel. Usually a special order item now. For best results, your deck needs to be biased for the tape stock used. Tape bias mixes in a high frequency signal with the lower audio freq., to allow those signals to be put on tape. Marvel
  16. I suppose everyone has seen the pair of Belles in Black on Ebay. They are up to just over $900. http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=3018470170&category=14993 Marvel
  17. Craig, Have you seen the Eico HF-87 on Ebay as well. It looks very clean as well, although I would certainly start replacing the power supply caps (as well as everything else). It is at $281 so far, with 4 days to go. Marvel
  18. Justin, For acoustic music, just about any of the "Dawg" music albums would sound great. David Grisman has been pumping these out for close to 30 years now. I have an early one with David Grisman and Stefan Grapelli (I'm sure I spelled that wrong). The newer ones are just as good. Tony Rice on guitar. Way cool music. Also, the music of Yo-Yo Ma, Edgar Meyer and Mark O'Connor should sound awesome with that combo you have at the moment. I've also got a release of Rosemary Clooney and Duke Ellington whish is nice. Marvel
  19. Until you said Macintosh it was easy. Spend $8 and buy a new one. It probably has little platic tabs that you have to flex to get it open. Depending on the design, taking the top off will result in all the keys falling off. Hate it when that happens. If it uses rubber dome technology, there are individual silcone rubber cups (inverted)under each key or a single silicone rubber mat with the domes all molded in. The latter is the easy kind as you can just wash the top side off with no problem. Then clean the keys so they will move freely and reassemble. Marvel
  20. Tom, We just downloaded the Redhat 9 ISOs at work. Now they recommend at least 400-450Mhz cpu for it. I'm working on my BeOS box for music playback, since it screams on a 266. Marvel
  21. I found some site where a guy has two bass horns that are the base for his bed, with Oris horns for the mids/highs. Michael Christs horn collection is pretty neat too, with beautiful veneer work. Marvel
  22. ....horns! http://www.avantgarde-usa.com/basshorns.html I think the basshorn module in the middle is about $20k. I mean it is a two channel setup. Marvel
  23. Make sure you download the newer drivers for the card from the M-Audio site. They fixed some bass management problems over the CD that came with the card. Justin, I was looking at the Anandtech forum talking about this card, and some were having touble with the latency when recording. They may actually have to up the buffer size instead of lowering it. It doesn't make sens, but the same was true for the Audiophile 2496. My latency on my Audiophile is very low. Didn't know if you had tied the line inputs, to see if they were off the wall or not. I don't know what the control panel is like for the Revolution so I can't help directly. Marvel
  24. According to an old book on recording, "Modern Recording Techniques" by Robert Runstein, studios use a playback volume of close to 85 db. Due to the Fletcher-Munson curves, this allows music to be played a little louder and a little quieter without much apparent change in the eq of the recording. I think Invidiosulus said they taught 90 db at Full Sail in Orlando. Then again, recording engineers are listening to music playback at those volumes all the time. Over time the high volume will damage your hearing. Marvel
  25. Bruinsrme, I had an acquaintance who worked for Bell South in Miami, doing line work. He climbed up a pole one day, the pole being enveloped in some kind of climbing vine. He reached up with some tool to open a box above him and a couple hundred palmetto bugs who were nesting in the box fell out on top of him. He said he couldn't get to the ground fast enough. They were in his shirt and pants, hair. He was smashing them all the way down. Needless to say, he took the rest of the day off. First to go home and shower and change clothes. He has since change careers. Marvel
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