In article ,
Eeyore wrote:
Serge, no-one is more aware that there's 'nothing new under the
(audio) sun' than me - my amps date back to the 20s and 30s (design)
and my speakers feature drivers that have been in *continuous
production* for the last 50 years in a design probably just as old!!

From what I've heard, they sound like it too !

I can't remember the last single driver pro monitoring speaker, but the
BEEB had gone to a twin unit in the AM only days...

--
*I must always remember that I'm unique, just like everyone else. *

Dave Plowman London SW
To e-mail, change noise into sound.

"Dave Plowman (News)" wrote in message
...
In article ,
Eeyore wrote:
Serge, no-one is more aware that there's 'nothing new under the
(audio) sun' than me - my amps date back to the 20s and 30s (design)
and my speakers feature drivers that have been in *continuous
production* for the last 50 years in a design probably just as old!!

From what I've heard, they sound like it too !

I can't remember the last single driver pro monitoring speaker, but the
BEEB had gone to a twin unit in the AM only days...

--
*I must always remember that I'm unique, just like everyone else. *

Dave Plowman London SW
To e-mail, change noise into sound.



I suspect (almost certain) that if I *bustled* I could have a pair of
LS3/5As here by noon today...

"Dave Plowman (News)" wrote:

In article ,
Eeyore wrote:
Serge, no-one is more aware that there's 'nothing new under the
(audio) sun' than me - my amps date back to the 20s and 30s (design)
and my speakers feature drivers that have been in *continuous
production* for the last 50 years in a design probably just as old!!

From what I've heard, they sound like it too !

I can't remember the last single driver pro monitoring speaker, but the
BEEB had gone to a twin unit in the AM only days...

If Keith's into 'point source' why not use a coax driver and a first over
Butterworth crossover ( or a 4th order Linkwitz-Riley ) ?

Graham

In article ,
Serge Auckland wrote:
In spite of my long teeth, what's an OB 'speaker other than Outside
Broadcast?

Must be an LS3/**** ;-)

--
*How's my driving? Call 999*

Dave Plowman London SW
To e-mail, change noise into sound.

In article ,
Keith G wrote:
They were stood out in the middle of a room which I thought wouldn't
have been doing them any favours and it caused me to wonder what
slotting a pair into the corners of my room and *using* the
'liveliness' to boost the bass would work like?

If working in stereo surely the position of the speakers to give the best
sound stage is *the* important bit, and siting them in room corners is
unlikely to do this?

However the 'liveliness' of a room really only effects mid and high
frequencies - bass is more effected by things like the type of floor. In
that a suspended type can absorb a deal of the bass energy.

--
*One tequila, two tequila, three tequila, floor.

Dave Plowman London SW
To e-mail, change noise into sound.

"Dave Plowman (News)" wrote in message
...
In article ,
Keith G wrote:
They were stood out in the middle of a room which I thought wouldn't
have been doing them any favours and it caused me to wonder what
slotting a pair into the corners of my room and *using* the
'liveliness' to boost the bass would work like?

If working in stereo surely the position of the speakers to give the best
sound stage is *the* important bit, and siting them in room corners is
unlikely to do this?


My room is small - summat has to go in the corners...



However the 'liveliness' of a room really only effects mid and high
frequencies - bass is more effected by things like the type of floor. In
that a suspended type can absorb a deal of the bass energy.

--
*One tequila, two tequila, three tequila, floor.

Dave Plowman London SW
To e-mail, change noise into sound.



I wouldn't disagree with any of that, but would say my suspicions do seem to
have been borne out by the fact that the OB speakers sounded kinda OK (but
not stunning) when I plonked them down in front of the other ones, but then
*did* sound stunning when I shunted them into the corners. (Not my say-so,
but I hardly dare mention who did say.... ;-)

The *clarity* is the best yet, but I haven't actually had time to listen to
them other than on the move/while doing other stuff. Depth, even when
standing over them, is quite amazing. I've posted the samples, it either
shows in them or it doesn't - I've since made better-recorded samples, but
only of stuff I have probably posted before...

Keith G wrote:



Miking them thus:

http://www.apah69.dsl.pipex.com/show/obspeakers3.JPG

Could I suggest Keith that if you want to demonstrate how the speakers
actually sound you should use a coincident pair at the listening
position. Close miking is for guitar amps.

Roy.

"Roy" x@y wrote in message ...
Keith G wrote:



Miking them thus:

http://www.apah69.dsl.pipex.com/show/obspeakers3.JPG

Could I suggest Keith that if you want to demonstrate how the speakers
actually sound you should use a coincident pair at the listening position.
Close miking is for guitar amps.

Roy.



Not at all - the mics are actually *closer* to the piano strings (under the
lid) in all these recordings:

http://www.apah69.dsl.pipex.com/reco...recordings.htm


Recording the speakers from the listening position in my room is going to be
90% room, 10% speaker - the purpose of the clips was to blot out as much
'room' as I could, while still allowing enough 'backwave' to get to the
mics....

(Last night Swim paused the telly to show me someone - 'Take That'?? - with
a little mic actually clipped to the horn of his sax....)

In article ,
Keith G wrote:
(Last night Swim paused the telly to show me someone - 'Take That'?? -
with a little mic actually clipped to the horn of his sax....)

Common way of doing things if they're going to prance around, or you're
struggling for seperation. Better than no sax at all which is the
alternative in that sort of gig situation. But not ideal mic placement.
You'll often see mics clipped to violins etc too. Even worse solution.

--
*I wished the buck stopped here, as I could use a few*

Dave Plowman London SW
To e-mail, change noise into sound.