Jump to content
The Klipsch Audio Community

artto

Regulars
  • Content Count

    3880
  • Joined

  • Last visited

Community Reputation

289 Excellent

About artto

  • Rank
    Forum Ultra Veteran

Profile Information

  • Gender
    Not Telling
  • Location
    Not Uranus
  • My System
    Main Listening Room:

    Dedicated purpose built acoustically tuned room approximately 550 sq.ft / 4400 cu. ft. Additional soundproofing with multiple layers of 5/8” OSB & Green Glue in progress.
    Speakers: Danley Sound Labs SH50
    Subwoofers: Epik Empire (four)
    Subwoofer Processor: Behringer DEQ2496
    Computer Source: Toshiba C855-S5350 Laptop. J River Media Center, 192Khz/24bit HDMI output
    Main Amplifier: NAD M32 + BluOS, HDMI, PH1 modules, Tidal Hi-Res MQA streaming
    Tuner: NAD C446 Digital Media Tuner toslink output
    Turntables:
    Thorens TD126 MKII, SME III arm, Shure V15mr Type 5
    Linn LP-12, Origin Live PS & motor upgrade, Moerch UP4 arm, Decca Jubilee
    Phono Preamp: Audio Research SP6B
    SACD Player: Sony SCD-XA5400ES HDMI
    Tape Decks: Nakamici Dragon, *Tascam CC-222SL MK II, *Sony A7 DAT (*toslink)
    Headphones: AKG K270
    Other: Various vintage Crown, McIntosh MX131 & MC7205, Luxman MB3045 , Wright Sound Lab 3.5 Mono

    Home Theater:
    UHDTV: Samsung HU7200 55”
    Receiver: Onkyo TX-NR838
    Speakers: Klipsch RF-7 II mains, RC-64 II center, RC-7 rear/surround (vertical with horns turned 90d)
    Subwoofer: SVS PC-2000
    DVD/BluRay Player: Samsung

    Model Railroad Room:
    Speakers: Klipschorns (1976)
    Reciever: Harman Kardon AVR130
    CD Player: Denon D-600F

    Office: Klipsch ProMedia 2.1 desktop, LG Flatron M237WD

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I'd avoid anything with foam suspension/surrounds. They all rot relatively quickly.
  2. artto

    Pizza

    As far as I know, there's no such thing as Pizza outside a 75 mile radius of Chicago. 👅
  3. I'm an architect/landscape architect by education/profession (although left the profession 15+ years ago). I was also one of the first in my profession to use computer-aided graphics (1980) and later CADD & video imaging systems. Consequently I was sort of inadvertently drawn into writing articles on the subject. I've had articles published in everything from the local newspapers to professional magazines to the Wall Street Journal. What usually happens is, especially with a subject the publication editors know very little about is I would write something, and send it to the editor for review. The first time I did this I was really pissed off when I read what the editor had edited. But after a while I came to realize that the editor had simply removed a lot of words I didn't need. The size of the document was often significantly reduced, but more importantly, it added clarity. It was more understandable to those who don't know, to who the subject is new & unfamiliar. As I got better at writing I found that editors didn't make as many changes to my text. Less is more. Keep it simple. The (professional) editor is your friend. Learn from them. That's their line of work.
  4. Another thing I did - long ago - was put up curtain rods. I used floor to ceiling curtains, fairly heavy. You can then simply slide the curtains around for absorption until you find what works best. Curtains don't have to be used only for windows!!!
  5. 1) IMHO, Melody Gardot, Frank Sinatra, or whoever, shouldn't sound like they are five feet from you. Ultimately, for me at least, the idea of an excellent playback system is one that can "take you there", more so than put the singer/orchestra/band in your room. So, to me, what you appear to feel is a good thing is something I try to avoid, or at least take to another level. A lot of that is somewhat dependent on the recording. But, to each his own. 2) I went to a department store rug/carpet section and asked if they had any rug remnants I could have - for free. The first thing you need to do is determine the early reflection points as they relate to both the speaker and your listening location. Have someone hold a small mirror against the wall & ceiling & move it around. When you can see the speaker in the mirror from your listening location, mark that location with a pencil. That is were you need to start experimenting with absorption or diffusion materials. You can hang the rugs (or blankets or whatever) with small finishing nails or tacks as this will not be permanent yet. You could also make some cheap stands or panels that can be moved around - simply lay then against the wall for now. 3) You've mentioned the cost of "hundreds of dollars" for acoustical materials. In my experience, especially with Klipschorns, acoustical room treatments are one of the cheapest improvements you can make to improve the sound. And don't forget bass traps. Auralex makes something called MegaLNRD, large, triangular, fit in the corners - right on top of the Khorns if you like. EDIT: And get those caps or networks replaced!!!!!!!!!!!! I have the same year and model Khorns. My networks/caps don't look anywhere near that bad - but the Khorns are being used in my model railroad room now, not the listening room.
  6. When I got my Reference 7iii & RC64 same thing you described - sound was a little tight & bright. I previously had Chorus I and RC7 doing the same duties. Mine get used the most for just plain old background music (FM) and TV. Only occasionally for full-throttle movies. After many weeks of playing them relatively quietly, and a few (sound) blockbuster movies like Skyfall they sounded more natural and relaxed.
  7. artto

    RIP Peter Green

    As usual............................ See you at that great gig in the sky, man
  8. Mother, should I run for President?
  9. Unfortunately too much shade for me. So mostly flowers and some herbs - chives, basil, oregano, rosemary, nasturtium
  10. Thanks Jeff. The Excel spread sheet shows comparative rate-of-change values based on price appreciation, broken down into the time frames shown and weighted 20%, 20%, 20% & 40% for the most recent quarter. I run these calculations every day, not only on All U.S. stocks, but also many different groups of securities, such as ETF’s, mutual funds, mutual funds that are only in my wife’s 401K, currency, commodities, bonds, individual sectors such as steel or biotech, or any group that I care to make up. This is done using a Metastock add-on/plug-in which is no longer available. It’s one of those programs that you have to program the program to get it to do what you need to do. Q1) You are probably recalling something I mentioned from a sentiment “model”. That model isn’t used for market timing and as such doesn’t give any Buy or Sell signals per se’. However, what the sentiment model did do (back in January) was indicate extreme excessive optimism, especially among the “dumb money” (retail small options traders for instance). It has a very good record at giving warning that there’s probably trouble ahead. At the time, the market kept ignoring this, and it was apparent that the “dumb money” kept “buying the dip”. So basically what I did in response to that was tighten up my exit strategy to a short term 5 day exponential moving average/10 day simple moving average crossover (as opposed to something more normal like a 50 SMA). On the last upswing at the beginning of February – and then pullback, when the stocks I was holding closed (end-of-day) below where the 5EMA crossed below the 10SMA I’m out. The main market timing model didn’t issue a Sell Signal at that point yet. I know it’s hard to believe, but that model didn’t give a Global Sell Signal until June 15th. There are a number of other conditions that have to be met in order for that model to trigger. It’s not unusual for the market to continue up for a little while after a Global Sell Signal or down more after a Buy Signal. Q2) No. That model is more of a long term model. In fact, its objective is to filter out those kinds of moves – until other conditions have occurred. Q3) Refer to the chart below. This is a daily price chart. The vertical red lines = Global Sell The vertical green lines = Global Buy The thicker horizontal red lines areas of support that I drew when the crash began. Very thick purple trend line = 1000 day simple moving average (SMA) Thick black trend line = 200 SMA Thick light green trend line = 50 SMA Thin black trend line = 10 SMA Thin blue trend line = 5 EMA The thin horizontal red lines are part of a trading strategy developed specifically for the trading S&P 500. They show (from top to bottom) the Highest High of the last 60 days, High Low Half Median last 60 days, High Low Median, High Low Low Half Median & High Lowest Low. I had to program this into Metastock. The Buy Signals you see are also part of the above Highest High/Lowest Low S&P 500 strategy. I also had to program this into Metastock. Credit for developing that goes Roy Larsen who’s done a lot of program enhancements for Metastock. The three inner windows at the top of the chart show (top to bottom) ADX Directional Movement Indicator, good ol’ MACD, and Stochastic Oscillator. Second chart is the same, just zoomed in.
  11. artto

    Sophie Lloyd

    "My First Attempt at Jazz (kind of...)" Give me a break. No one plays Jazz like that on their first attempt. You have to learn the music. You have to KNOW the music. And by then it's clearly not a "first attempt". And as I previously stated, let's see her play that song all by herself instead of with the recording which she has obviously practiced along with many, many times.
  12. artto

    Sophie Lloyd

    The first time I saw Joanna Conner was at a Chicago Blues Fest WAY back (80's?). She took about 20 years off the music scene to attend to her family life/kids. She's been back a couple years now. Doesn't seem to have lost anything and better than ever. But it's kind of funny. Just looking at her you would never suspect that gramda smokes the guitar like that.
  13. artto

    Sophie Lloyd

    That's not the point. All of her videos, are about her. Not her playing. Like I said, she's playing along with the recording. CASE IN POINT STORY: Many decades ago when I was a young man one of my guitar buddies got out of the service so naturally we decided to start another band. We put an ad in the newspaper for a drummer. This guy responds but wants us to come over to his place. He said he had a rehearsal space in the basement so went there to check it out. The guy gets on his kit to show us his chops. But before he does anything on the drums he puts on a record, and then starts playing, along with the record. Great. We drag our amps out of the cars and setup in his basement. We try a tune. Same thing the guy played on the record. Me & Gary look at each like WTF? He couldn't even keep a steady beat by himself. You can practice along with a recording all you want. But at some point that becomes a liability more than an asset. Playing live with other musicians is something very different than just ripping off some notes by yourself, or especially with a record, that plays everything exactly the same every time, backing you up. The other point I'd like to make is that the very few moments Sophia Lloyd plays by herself, it's lifeless. It has little or no Feel. No feeling. Just notes.
×
×
  • Create New...