I did, but he’s right about brightness being related to mains noise and RFI etc, but it also isn’t going to help if a system leans towards bright or the room is sparsely furnished.You haven't read my previous post have you?
I did, but he’s right about brightness being related to mains noise and RFI etc, but it also isn’t going to help if a system leans towards bright or the room is sparsely furnished.You haven't read my previous post have you?
I don’t need any help thank you, I don’t have those speakers now. I had the sound I wanted when I had them, I’m trying to illustrate to the op that no advice is best until you’ve done your best in your own room.Try to put along the short wall not less than 1m from the drivers to the wall.
I rather change things which actually have an impact on what I can test/measure ie: speakers, positioning them, etc.. .I did, but he’s right about brightness being related to mains noise and RFI etc, but it also isn’t going to help if a system leans towards bright or the room is sparsely furnished.
That’s where I’m headed as well.I guess subwoofers would be next as I have had good results cancelling to some extent main offending modes in the old room
In my old room I've had couple dialled very low - 55Hz if I remember correctly with not very sharp slope from there , I've used SVS with built in PEQ filters plus phase adjustment - worked quite well. Phase shift was quite beneficial in minimizing room modes and improved decay times fair bit.That’s where I’m headed as well.
One can only reap the full benefits of using subwoofers with the mains running high-passed.In my old room I've had couple dialled very low - 55Hz if I remember correctly with not very sharp slope from there , I've used SVS with built in PEQ filters plus phase adjustment - worked quite well
I've done that as I have pre-out and power-in on integrated I used then but it means using DSP in the chain for full frequency range which I wasn't too happy with , I've tried bi-amping and running bass amplifier with DSP only but DSP latency created phase issues around crossover point and I gave up in the end as life is too short to spend all my free time measuring stuff.One can only reap the full benefits of using subwoofers with the mains running high-passed.
I use an integrated so I am currently trying to figure out the best way to do this.
These things do have a profound impact, but as you say, you need to get speaker positioning etc right first as those things are free.I rather change things which actually have an impact on what I can test/measure ie: speakers, positioning them, etc.. .
I do own and use 100MHz oscilloscopes, spectrum analyzers and some other gear and none of my boxes shows any worrying performance directly or indirectly pointing towards mains supply issues , I have moved within same building- same supply , my room has changed and yes is not furnished the same, sitting position/speakers position have changed not sure how mains could affect anything
It’s just not my thing, sorry.Have a look at his website.
Quite a lot of research and factual information instead of the usual cråp one gets from YouTubers and webzines.
No worries.It’s just not my thing, sorry.
I’m not really sure about that, starting a business & scaling it up is quite different to DIY. We used to have a certain audio engineer on here who always going on about his special designsI can think of many many brands that we now revere that started out as one man band DIY'ed products. So can you I am sure.
Linn ,Naim and ATC for certain.
I don't understand ...... take Schroeder tonearms for instance , make by one man and considered amongst the top arms available. The Supatrac arm...much written about on this forum....designed and built by one man and I imagine that it started out as a diy project.I admire skilled artisans but doubt I’d ever buy or commission a build from them.
I actually didn’t say any of that. Saville Row Tailors are an actual business, some have been established for over a 100 years. A cabinet maker, highly unlikely I’d ever commission a piece of furniture due to the cost & it’s not one of my areas of interest.I don't understand ...... take Schroeder tonearms for instance , make by one man and considered amongst the top arms available. The Supatrac arm...much written about on this forum....designed and built by one man and I imagine that it started out as a diy project.
Naim and ATC both started by a single individual and I would bet pounds to shirt buttons that they effectively started out by diy'ing an idea they had...probably made it on their kitchen table first until they graduated to a shed. Spendor BC 1's were in fact first made in a kitchen if I recall correctly because they needed their oven to melt the Bextrene for the bass cones.
Still.... you are effectively saying that you would never buy a piece of furniture from a cabinet maker nor a Saville Row suit or an original piece of art so I will leave this conversation.
The slavish devotion to frequency response as a speaker's sole voice is remarkable. More so among the supposedly scientifically-literate.I cannot unfortunately. As the typical frequency response graphs say very little in fact about musical experience.
I don't understand ...... take Schroeder tonearms for instance , make by one man and considered amongst the top arms available. The Supatrac arm...much written about on this forum....designed and built by one man and I imagine that it started out as a diy project.
Naim and ATC both started by a single individual and I would bet pounds to shirt buttons that they effectively started out by diy'ing an idea they had...probably made it on their kitchen table first until they graduated to a shed. Spendor BC 1's were in fact first made in a kitchen if I recall correctly because they needed their oven to melt the Bextrene for the bass cones.
Still.... you are effectively saying that you would never buy a piece of furniture from a cabinet maker nor a Saville Row suit or an original piece of art so I will leave this conversation.
No disagreement here, however it's useful to isolate the schools of thought. If the aim is superlative, musical sound, I think the evidence confirms one over the other.As a belief your opinions are quite interesting, albeit contrary to my experience of many different speakers and speaker types in the five different houses I’ve owned over the years and the different rooms within them. To get the best results from a hifi system I’ve found it best to consider the speaker and the room it is going to be used in together. In my current house I have speakers that sound great in one room but not at all good in another.
Funny enough I have heard a pair of B&W speakers, retired from use at Abbey Road, in a domestic setting and they sounded fine. They were an older model though and as someone who likes dipoles and omnis for the way they get me into the music I personally wasn’t that struck by their monitor style presentation - not a criticism of anyone that does prefer monitor speakers of course.But they’re probably ok at Abbey Road, right?
Funny enough I have heard a pair of B&W speakers, retired from use at Abbey Road, in a domestic setting and they sounded fine. They were an older model though and as someone who likes dipoles and omnis for the way they get me into the music I personally wasn’t that struck by their monitor style presentation - not a criticism of anyone that does prefer monitor speakers of course.
Perhaps the question is are the requirements of a recording engineer different to those of someone in his lounge enjoying the music rather than the sound, and that lounge may be very different acoustically to a recording studio.