In article , Iain Churches
scribeth thus

"tony sayer" wrote in message
...
In article , Iain Churches
scribeth thus

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;?...

No. I am talk about studio codnditions, and the poor
suitability of the ESL63 in this environment. The players
in a big-band like the two mentioned aove expect power,
impact and a full dynamic from, "ppp" to " sffz" from
seven brass, five saxes, percussion and a rhythm section.
A monitor system in a large control room with perhaps
twenty people listening needs to be able to produce
high SPLs.


Yes well.. thats more like a PA rig then;, nothing to do with quality
assessment...

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..


It didn't seem worth "blotting ones copy book" for a pair of
speakers that clearly could not fulfill the requirements of a
studio role.


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..


Their accuracy has never been in doubt. I remember
that Harley Usill, the recording director (producer) of
the Pygmalion recording to which I referred earlier, was
greatly impressed by the "realism" of the reproduction.

)...

Iain




--
Tony Sayer