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About hsosdrummer

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  1. I hear you. L.A. was very lucky that Disney Hall was built, since the previous space for symphonic music (Dorothy Chandler Pavilion) is an unmitigated acoustical disaster. It makes music sound like it's coming from next door — totally lacking in immediacy and dynamics. The last time I heard a concert there I felt like I was listening to a loud stereo system that was playing outside in the parking lot. I'd love to know more about Helzberg Hall's acoustical design. Gotta go look that up... Just looked at the floor plan. The photo makes it look ovoid in shape, but it's anything but. A VERY nice looking space. And from the outside the building rocks.
  2. That depends entirely on the type of music one enjoys. All popular music today requires sound reinforcement to reach audiences that are much, much too large to be able to hear the singers and players without reinforcement. That's just the way it is. The economics of putting on live shows requires crowds that are too large to be able to hear musicians without reinforcement. By the time the promoter pays the artist and expenses a small acoustic-only space will never show a profit. I'd love to hear a great jazz show with no sound reinforcement in a room with terrific acoustics (like Disney Hall here in L.A.), but they don't book jazz into that hall — only "serious" music. The next time the L.A. Phil plays Stravinsky's "Rite Of Spring" there I'll go see it. (BTW, I wonder how the hall in your photo actually sounds. From the shape it looks like it could be an acoustical nightmare. But it's sure gorgeous looking.)
  3. There won't be enough time...
  4. Would look way cool on industrial LaScalas for a band PA, especially for a band playing old-time rock, country or R&B. But your place would need shall we say, "unusual" décor for them to fit in your living room. Maybe a pair of Heresys, but a pair of Klipschorns finished like that would be a really, really tough sell for most significant others. (At least it would have been for the ones I've lived with.) P.S. Technically, I don't think the original Fender Tweed wrap was Tolex, which is made of vinyl.
  5. I was in marching bands all through HS and college. Our 100-piece college band had a 28-person drum section — 4 precision (tight) snares, 8 loose snares, 10 tenors, 2 cymbals, 4 basses — that marched directly in front of a marching electric bass player (the amp was a custom-made Cerwin-Vega folded-horn w/18" driver and a 500-watt amp, pushed by another guy) and a marching electronic organ (Vox Continental on top of another custom Cerwin-Vega amplifier/speaker combo, pulled by yet another guy). We played arrangements that were written specifically for the band by the professor who taught jazz arrangement (Don Nelligan) — no Mickey-Mouse stock marching band arrangements. We would march one complete circuit around the football field with the drum section playing cadences and when we got in front of the grandstand we stopped, stood still and played to the crowd (our band director HATED the idea of the band "spelling words and drawing pictures", as he put it). It was more like a huge concert rock band as opposed to a typical 1970-vintage marching band, and believe me when I tell you that we kicked complete and total ASSS when we played. All the horn players from the jazz band were the section leaders, and the drum section worked out its parts to sound like Ginger Baker or John Bonham drum parts. It was a whole world away from the kind of precision you get in DCI, but man was it fun to be part of something that powerful. (When we played home games my mom could clearly hear the band at our home, which was well over a mile away from the stadium.) BTW, I've yet to hear a recording of any marching band or drum corps that accurately captures the power and intensity of witnessing a performance in person. My experience making recordings is that as the physical size of what you're trying to record increases, the difficulty of accurately capturing the listening experience increases proportionally. ESPECIALLY when the ensemble is out of doors, away from the friendly reinforcement of a concert hall's reflective surfaces.
  6. You completely missed it. The video does not contend that the letters b and f are the same thing. The video demonstrates that even though the sound we're hearing (which is the same in both instances: the video is being mimed over the audio), the input from our eyes influences how our brains perceive it. When the guy mimes "ba" we hear the letter "b"; when he mimes "fa" we hear the letter "f", even though the sound is the same in both instances.
  7. I can't say that I agree with this. How a person perceives any sensual stimulus is a product of many things, one of the most important of which is the extent of that person's knowledge about the particular stimulus they're receiving. How many of you could always immediately detect that a pair of speakers is connected in reverse polarity to each other before the first time that someone pointed out the condition to you (perhaps teaching you what to listen for) and explained the electrical cause? Many non-audiophile types live happily for years with their speakers connected in reverse polarity to each other. On the other hand, my friend Ken can detect the condition after only a couple of seconds of listening. It's more than putting a name on an experience, it's learning to recognize and appreciate all the different things that experience is made up of. Listening to music reproduction is an extremely complex activity; the more we know about and understand the nature of what we're hearing the more our enjoyment of it is substantially improved.
  8. We hear with our brains, not with our ears. To that end, our hearing (in our brain) can be influenced to hear "differences" that are not caused by a difference only in the stimulus it receives through our auditory system. If you believe that amplifiers with blue faceplates sound better than amplifiers with any other color faceplates, then every time you listen to an amp that you know has a blue faceplate it will sound better to you. After a while, you will hear those differences just as if they are being caused solely by auditory stimulation. After all, if we can teach our brains how to hear things that are there, we can also teach them how to hear things that aren't there. People who hear differences in fuses and power cords are indeed experiencing those differences in their brain's hearing mechanism, but the differences they perceive aren't being caused by differences in stimulus from their auditory systems — those differences are being caused by other factors. And those other factors can have just as big an effect on our hearing as does the stimulus from our auditory systems — sometimes more. Double-blind testing can teach us a lot about how to recognize what we get from our auditory systems apart from all the other bullshit that creeps into our brain's hearing mechanism, and that can be a very sobering lesson for those who hear differences in fuses, power cords, cable-lifters and the like.
  9. Admitting to myself that my Khorns just weren't going to work in my home was indeed painful for me, especially because I'd had such good luck with them in my previous rooms. (One room in particular — in which I formed what was essentially a natural corner by building a 6-foot long wall the same height as the Khorn using 3/4" drywall over a 2 x 4 frame that was nailed into the floor with double-head nails so that the landlord could remove the whole thing by punching through the drywall and pulling out the double-head nails — was where I converted the system from 2-channel to derived 3-channel by adding a Cornwall, a third amp and building a summing network based on info in the Dope From Hope. The whole system sounded absolutely awesome in there — and I mean awesome. The bass seemed to go down to the center of the Earth.) Once I got over the loss of being able to use my Khorns I was much happier with the results from the Cornwalls. For the year I had the Khorns in the 16 x 16.5 x 8 room we hardly ever listened to music — I was only able to find maybe 8 LPs (out of more than a thousand) that produced decent results in there, and even those had disappointing bass performance. Once we changed to the Cornwall system and rearranged the room we listened to music all the time.
  10. C'mon, people... Room dimensions, shape and construction are 1000 times more likely to influence a Khorn's bass performance than the amplifier. You can swap electronics for the next 10 years and it won't have anywhere near as much effect on the Khorns' bass performance as would moving the speakers into a different room. That's the difference between what you heard at the seller's house and what you're hearing now, not the amp, not anything else. That's something Khorn lovers have to accept — you're sitting inside of the bass horns, so the room is part of the speaker. Some rooms work better for this than others. Unfortunately, turning a bad Khorn room into a good Khorn room can be expensive and time-consuming, and will almost always involve altering the room's dimensions. Rooms with identical or nearly identical length and width dimensions will produce a large number of bass standing waves and more importantly, bass nulls — which will be made worse if the room's length and width are integer multiples of the room's height. You can solve standing waves with sophisticated measurement and parametric EQ, but you CAN NOT SOLVE BASS NULLS WITH EQ. You'll run out of amp power trying to do so; all that power will simply be turned into heat instead of sound, and the woofers will exhaust their ability to dissipate that excess heat, likely resulting in driver failure. One thing that can help overcome bass nulls is finding a listening position that's outside of all or most of the nulls, but unfortunately, Khorns don't afford such flexibility in listening position, since you can't move the speakers around the room. I know this all from personal experience... I love the sound of Khorns. I bought brand-new Khorns in 1978, and they sounded different in each of 4 different rooms that I had them in over a period of 7 years (various dimensions but all were rectangular), with bass performance ranging from pretty good to astoundingly good. Then I moved into a house with a 16' by 16.5' foot living room (8' ceiling) and they sounded terrible (same electronics). Nothing I did made any difference in bass performance (and because I was renting I couldn't make construction changes in the room), so I replaced the Khorns with Cornwalls, which sounded MUCH better in that room (especially in the bass) because I was able to rearrange the room's layout and place the speakers where they generated few bass standing waves and bass nulls (away from the corners and back wall, contrary to PWK's rule that speakers always sound better in corners). I wound up staying in that house for 16 years, during which I sold the Khorns. After that I bought a house with a living room that has only one natural corner and is too small for Khorns (although it is rectangular) and have been there for another 16 years. I expect to live in that house until I die, so even though I love them, no more Khorns for me.
  11. Clearly not a JBL on the tweeter, (Shows you what I know!)
  12. Agreed. For the past 20 years I've listened to music exclusively via my Klipsch THX-certified system (KT-LCRs and KT-DSs, with the surrounds rewired for bipolar operation). For the past 10 years I've used my Lexicon DC-1 processor's Logic 7 mode, which does a fantastic job of creating a believable surround-sound environment with every 2-channel program (and even some mono programs) I've thrown at it. As good as my old 3-channel Khorn/Cornwall system was, I enjoy the way my current 5.1-channel system presents the soundstage even more. Now if my room only had corners (and were about twice as large) I could have the best of both worlds...
  13. This would depend entirely on how loud you set the center channel level control. The circuit in DFH gives the listener total control of the soundstage. For the above-mentioned Queen song, you could simply turn the center level all (or nearly all) the way down to maintain maximum left/right separation. But my experience with similarly-mixed rock and pop recordings back when I had my 3-channel system was that even they sounded better with the center speaker at a decent volume — it clearly focuses anything that's mixed dead-center or nearly dead-center. The point is that it gives you complete control of the stereo soundstage, and you can dial in the amount of center speaker until the soundstage sounds just right no matter what recording you're listening to. You'd be amazed how much better each and every recording will sound. Of course, you must set up your system with the little summing circuit box placed next to the listening position, where you can futz with it while you're listening.
  14. Looks like a JBL 2440 or 2482 on the horn.
  15. This.Right Here. It'll be the last stereo system you'll ever want (or need).