"Dave Plowman (News)" wrote in message
...
In article ,
Jim Lesurf wrote:
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.
:-)

None of the Quad designs are suitable for pro monitoring use. Only place
I know that tried was the ABC studios at Teddington, many many years ago.
Under the control of a 'musician' rather than professional.


LOL. So a musician is not a professional? Normally pieces of
equipment such as speakers are chosen by a panel of both
engineering and production/artistic staff. I know that at ABC
(Thames studios after 1968), the opinion of the musical
director, Ronnie Aldrich, who was a good friend of mine, was
often sought, and his view highly regarded. Was he the musician
to whom you refer?


But the
requirements for a pro monitor are very different from domestic use. If it
gets knackered by plugging in a mic etc with the channel faded up that
could be the end of the day. You don't do that at home.

I could say I'm amazed Iain doesn't seem to know this. But then again,
not.

I have mentioned this exact point at least twice in this thread.


They do have various inbuilt arrangements like switching the
transformer windings and dropping a crowbar triac across the input to
help protect them against minor abuses. However as I once pointed out to
PJW, the early 63s only used a 5Amp triac and the amp I used could
cheerfully drive 30 amps for prolonged periods. So my own amp would
have toasted the triac then attacked the speaker if I'd been unwise
enough to shove up the power.

Iain seems only to have experience of the '57.

I mentioned sprecifically the 63, the black studio model with handles on
the side, presented to Decca by PW himself. on which several recordings
were made, including the London theatre cast recording of Pygmalion
with Diana Rigg. Please pay attention, Dave:-)

Interestingly, the direct to disc recording engineered by myself, which
Peter Walker commissioned from Decca, and used up until his retirement,
was made using Tannoy Lancaster speakers:-) PW knew we had at least
one pair of ELS63, but did not even suggest their use (as executive
producer he would have been fully entitled to do so)

How often do two people sit down to listen to music where they both are so
critical?

Quite often. A musician/artist comes to supper, and brings his/her
recordings along. Preferably you need a sweet spot where three
people can sit comfortably and share the same listrening experience.

Iain