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Rolox

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About Rolox

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  1. I always wonder why people hesitate so much to renew capacitors. Difference between old, worn out caps and new ones is usually night and day, plus you can buy much improved quality capacitors nowadays. In electronics, it's the same - but doing it at home requires a bit more knowledge. still, an old amp or preamp with tired capacitors doesn't sound as good as it should, far from it - and is facing reliability issues sooner or later!
  2. While I haven't compared them myself, it seems logical that the IV would be the one to buy: look at that midrange horn and driver! That is where the music lives!!!
  3. Whatever you use as subs, you're gonna need an active crossover to remove the strain from the main amps / speakers. You will gain enormously in clarity, dynamics, and max SPL without distortion. If you want the best sound quality for a still reasonable outlet, check Sublime Acoustic K231. It's fantastic.
  4. If it were me, I would sell the Altecs, buy some K402 horns + appropriate drivers, put them on top of the KHorns bass bins, along with your choice of active crossover, and enjoy far better sound than anything else possible. oh yes you'll need two amps but I suppose you already have them.
  5. I would consider the crossover network to be one of the most important things in a loudspeaker so, if your crossover sucks, there isn't a single chance the rest will sing. Start from there, then eventually upgrade your drivers. A55G is great, really worth the money IMHO.
  6. Hi all, I wonder if anybody has modeled or tried the Faital Pro 15PR400 in a LaScala / Belle / FH1 type bass horn, and how it compares to K33 and to Eminence Kappa 15C?
  7. Thanks for clarifying that. I rarely listen at more than 95dB, and that is already very, very rare. Knowing I have a lot of margin is the cherry on the cake and helps one feel confident 😉
  8. My take on this is that the goal when using tap settings is to balance drivers relative to each other, NOT to tune the sound "brightness" relative to your preferences / room acoustics. That is NOT the goal and is NOT going to give satisfactory results IMHO. The way drivers interact and interplay is the important issue, and that is how the TAP settings should be used. If your mids are too hot (again, summarizing) in regard to the rest, it will make the sound shouty and nasal no matter what recording you play. It took me months to find the correct midrange tap settings relative to the tweeter, and the correct low-pass to high-pass level through the active crossover. Even a basic RTA app helps assessing what is going on. Sometimes a perceived midrange problem can come from a misbalance somewhere else in the audio range, for example, and it can prove extremely difficult to try and do it only by ears.
  9. I can tell you about my experience with customizing some LaScalas: Started with a new mid horn (EV SM120A), plug and play: big improvement Improved tweeters (Beyma CP25): big improvement ALK Universal crossovers: big improvement. John Allen A55G drivers: big improvement again. Substituting the old, beat up, vibrating LaScala bass bins with Peavey FH1: improvement in rigidity and overall bass smoothness, but big step back using 1st order Universal crossover between bass and mids: the FH1 goes higher in frequency, and outputs mids simultaneously with the midrange horn - with a serious arrival time offset, creating intermodulation and a "wha wha" sound >> the cure: going active at 400Hz, with a 4th order (24dB) Linkwitz-riley slope. Active crossover: all actives (analogue) I've been using until recently solved the crossover issue but brought other issues (noise floor, distortion, electronic colouration) to the sound; going for a better active x-over (sublime acoustic K231) solved that issue and I'm in audio bliss again I'm not time-aligning yet I get lifelike, enveloping imaging - it could be better, but I chose to sacrifice ultimate depth of soundstage in order to NOT use digital / DSP based crossover. The imaging I get is good enough to my ears. The mids and high horns, in my system, are much more "aligned" than in the stock LaScala/Klipschorn due to the relatively shallow but wide open profile of the SM120 horn, and the deeper profile of the Beyma tweeters, in effect reducing the distance between their respective throats, when they are bolted to the same baffle. Using mids and tweeter horns that have similar dispersion curves (specially at and near crossover frequency) is definitely a good idea. Next step for me will be to replace the K33E woofers with Kappa 15C. To summarise, it's difficult to change everything at once and expect a immediate improvement; step by step is the best way to do it, except if you clone a proven recipe. It is also possible to get good sound without time alignment but not if your drivers/horns (I insist on the HORN part: just because a crossover has a certain electrical slope doesn't tell you what the ACOUSTIC slope will be with the horn; that is the reason why you may use 1st order with a LaScala bass horn, and not with the FH1 version) are outputting simultaneously a wide range (due to low crossover slope) AND do so with considerable physical delay. I'm summarizing a lot (it's been a 20 years journey since I bought the stock LaScalas) but still, I hope this helps.
  10. I wonder if that big sofa just between the speakers isn't "eating up" a portion of the bass/low mids??? Also a 8 watts SET amp is maybe not the most appropriate to "kick" hard with rock. Try class D, minimum 30 watts.
  11. That Luxman is absolutely gorgeous. Way out of my budget, and I haven't heard much about their DACs, but there's no reason it shouldn't be as good as their amps.
  12. SMSL SU-8. (v2) is FANTASTIC for 250$. TRUE BALANCED DAC! XLR + RCA outputs! ESS Sabre! remonte control AND of course great great sound (after a couple weeks burn-in; mine sounded nasal and had no bass before that, but I'm sooo glad I patiently waited )
  13. I recently bought a 250$ SMSL SU-8 V2 and I love it! It sounds great after a couple of weeks of burn-in ( a controversial subject I know, but this particular dac is VERY sensitive to it), clear, detailed, dynamic, with a very wide soundstage. I use it on a tri-amped, fully hornloaded system - think bigger LaScalas with two active subs- that is very revealing and frankly, I doubt I will want to spend more before very long. Plus it boasts both unbalanced RCA and true balanced XLR outputs, USB, optical and coaxial, is fully remote controllable including output level, has a last generation ESS Sabre chip, is small and well built. Mega bangs-for-the-bucks device. If you buy it make sure you buy the improved "version 2" as the first one had some distortion issues on the XLR outputs at full level. Just check the online reviews!
  14. This is one of my go-to test tracks for bass dynamics:
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