In article , Iain Churches
scribeth thus

"Jim Lesurf" wrote in message
...
In article , Iain Churches
wrote:

"Jim Lesurf" wrote in message
...
In article , tony sayer


Personally, in a studio environment I would be *very* concerned about
their fragility.

Decca had a pair of ESL (63?) the studio versions with black grilles,
and handles on the side, that were presented to us by Peter Walker I
used them for spoken-word recordings for the Argo label, including the
London theatre cast recording of Pygmalion with Diana Rigg.

But I certainly wouldn't have used them on a project where one might PFL
a bass drum:-)

The 63s and their children might survive the over driving. Depends on the
sheer amount of abuse, and the determination with which it is applied.
:-)

I recall breaking out in a sweat hearing the 63s straining at a big-band
in full flight (Ted Heath, or Mike Westbrook, can't remember) And
that certainly could not be described as abuse. One has to be able to
reproduce the recording at the same level as the band played it in
the studio:-)


Same level at home too;?...

There was another consideration. As this pair of speakers
had been presented to Decca by PW himself, none of us
wanted the unenviable task of knocking on the door of the
technical director and tell him they had been damaged.


How very considerate..

I remember seeing some being tested at the factory once and they were
fed with a square wave and the output on the scope from the B&K Mic was
... well .. very square..
Iain




--
Tony Sayer