In article ,
tony sayer wrote:

I bought a pair of KEF kit 3s then too, later improving them with
rebuilt crossovers plus massively deadened the cabinets. Sold them a
couple of years on at a small profit, after buying a second hand pair
of ESL57s.

I kept them for nearly 30 years.


.... Phil

Still got the ESL57's?...

Can you still get them fixed? Pal had a pair, and they tended to need
fixing every few years. But did sound wonderful when good.

--
*It sounds like English, but I can't understand a word you're saying.

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

tony sayer wrote:


I bought a pair of KEF kit 3s then too, later improving them with rebuilt
crossovers plus massively deadened the cabinets.
Sold them a couple of years on
at a small profit, after buying a second hand pair of ESL57s.

I kept them for nearly 30 years.


Still got the ESL57's?...
--


** No, thirty years expired in 2002.

Since then I entertained borrowed ESL63s driven by Quad 405s and 306s for a long while - verrrry nice.

Then I purchased a pair of used ESL63s from an authorised Quad dealer and unfortunately had to return them for a full refund. You do NOT wanna know the legal hassles that involved.

Now I content myself with a pair of 3-way speakers, employing all Vifa drivers in *heavily modified* cabinets that once housed AR2Axs.

I fancy they sound rather better than KEF Concertos but not quite as good as the phenomenal Yamaha NS1000s.



..... Phil

In article , Phil
Allison scribeth thus
tony sayer wrote:


I bought a pair of KEF kit 3s then too, later improving them with rebuilt
crossovers plus massively deadened the cabinets.
Sold them a couple of years on
at a small profit, after buying a second hand pair of ESL57s.

I kept them for nearly 30 years.


Still got the ESL57's?...
--


** No, thirty years expired in 2002.

Since then I entertained borrowed ESL63s driven by Quad 405s and 306s for a long
while - verrrry nice.

:-)..

Then I purchased a pair of used ESL63s from an authorised Quad dealer and
unfortunately had to return them for a full refund. You do NOT wanna know the
legal hassles that involved.

Nope!, lots to do with repairing and replacing errant panels no doubt.
And is there anyone K to do that in Oz suppose the carriage back to
Huntingdon is the price of a new pair;!..


Now I content myself with a pair of 3-way speakers, employing all Vifa drivers
in *heavily modified* cabinets that once housed AR2Axs.

I fancy they sound rather better than KEF Concertos but not quite as good as the
phenomenal Yamaha NS1000s.

Yep one of the good designs..



.... Phil



--
Tony Sayer

In article ,
Phil Allison wrote:
Dave Plowman (Nutcase) wrote:



Hmm. Pretty well known that things recorded on headphones will only
sound their best when listened to on headphones.


** Only well known to lunatics like the Plowmaniac.

Some 40 years of actually balancing sound for a living tells me different.
That you've no experience of the obvious differences just tells me you
have ears of cloth.


I am reminded of the advertising campaign used by JBL for several years
where they claimed that since the majority of US pop/jazz music studios
used JBL monitors in their for control rooms - it was only logical to
use JBL brand speakers in your home, in order to hear the sound as the
engineers intended.

There is also some truth in that. Using exactly the same loudspeakers is
likely to give the most consistent results. But saying all models from one
maker sound the same is nonsense. Even before you take into account the
room acoustics.

Luckily, most audiophiles ignored this patent absurdity and used much
better speakers instead.

You think you need to be an 'audiophile' to realise advertising is not
always 100% true?

You must lead a *very* sheltered life.



.... Phil



.... Phil

--
*A day without sunshine is like... night.*

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

Dave Plowman ( Nutcase ) wrote:


Hmm. Pretty well known that things recorded on headphones will only
sound their best when listened to on headphones.


** Only well known to lunatics like the Plowmaniac.


Some 40 years of actually balancing sound for a living tells me different.



** Do the demonic voices in your head say that to you - Dave ??

While you are sleeping or awake - or is it both ?



I am reminded of the advertising campaign used by JBL for several years
where they claimed that since the majority of US pop/jazz music studios
used JBL monitors in their for control rooms - it was only logical to
use JBL brand speakers in your home, in order to hear the sound as the
engineers intended.

There is also some truth in that.



** There is not one, tiny bit of truth in it.

For the record:

Dave Nutcase is a revolting pile of narcissistic, pommy puke.

On a good day, that is....



..... Phil

In article ,
Phil Allison wrote:
Dave Plowman ( Nutcase ) wrote:


Hmm. Pretty well known that things recorded on headphones will only
sound their best when listened to on headphones.


** Only well known to lunatics like the Plowmaniac.


Some 40 years of actually balancing sound for a living tells me
different.



** Do the demonic voices in your head say that to you - Dave ??

That from the Oz nutcase most will only remember from the wobblies he's
thrown on here...


Pet, if you've not got anything useful to contribute to a discussion, why
waste the bandwidth?

--
*He who laughs last, thinks slowest.

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

Dave Plowmaniac (Nutcase Psycho) wrote:



Hmm. Pretty well known that things recorded on headphones will only
sound their best when listened to on headphones.


** Only well known to lunatics like the Plowmaniac.


Some 40 years of actually balancing sound for a living tells me
different.



** Do the demonic voices in your head say that to you - Dave ??


That from the Oz nutcase most will only remember from the wobblies he's
thrown on here...


Pet,


** Forget being clever with me, you asinine pile of pommy excreta.

Your putrid stench reaches all the way to Australia.

Kindly FOAD.


..... Phil

In article ,
Phil Allison wrote:
That from the Oz nutcase most will only remember from the wobblies he's
thrown on here...


Pet,


** Forget being clever with me, you asinine pile of pommy excreta.

Your putrid stench reaches all the way to Australia.

Thanks for confirming my point.

You are just sooooooooooooooo predictable.

--
*What was the best thing before sliced bread? *

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

"Dave Plowman (News)" wrote in message
...
In article ,
Iain Churches wrote:

[snip]
To solve the question of monitoring while recording, he
decided to use cordless headphones. Together we tried
Bluetooth which proved to be acceptable in the close
vicinity of the source, as in the control area, but not
practical for foldback in the recording area.
So he bought 24 pairs of Sennhesier RS 140
wireless headphones.

Hmm. Pretty well known that things recorded on headphones will only sound
their best when listened to on headphones.

Indeed. They say the same about Tannoys:-)

In his music room at home, my colleague has a
pair of B+W Nautilus speakers,the same model
which up until now he has used in his daily work.
So his audio reference is well and truly ingrained.
He also has many hundreds of fine recordings, so
the next few weeks will be spent in comparative
listening on speakers and headphones to
"acclimatise" himself, just as location or freelance
engineers and producers do when move from place
to place. His task will be simpler as he only has two
monitor systems, the B+W and his 'phones to compare.

But there is a huge practical advantage to his idea.
The objective of classical recording is to
capture as faithfully as possible the sound
of the music being recorded in that particular acoustic.
With this system he can sit among the players, or
behind the conductor's podium, or even on a stepladder
level with the top of the front line mics, and soak up
the sound in the recording area. Then, without walking
a step, he can put his headphones on, and hear his conrol
room monitor balance. I think producers will like this too.
They can sit close to the conductor.and still be in the
control area, as the 'phones are cordless and offer
complete freedom of movement..

Traditionally, at the end of a good take, more than
half the orchestra want to hear their performance
played back. Even though there are probably tracking
speakers in the studio to which the monitoring can easily
be routed, they prefer to put down their instruments,
cross the studio and crowd into the control room.
Only when everyone is in place, and the door closed,
does the playback begin. Then, they all file out,
cross the studio, sit down and pick up their instruments.
This takes a lot of (very valuable) time.
With a large orchestra the clock is ticking in multiples
of the pound sterling, and the bean counters are
tearing their hair! With the new system, the players
stay put, put on a pair of headphones, and listen to
the playback at the volume of their choice from their
own chair.

During a prolonged listening session, my colleague
acknowledged a preference for the Decca tree over
AB or XY pairs with outriggers so often used used in
broadcast, so in what I call the West aisle, he has
set up a tree to the precise Decca spec with vintage
Neumanns which will become a permanent fixture.
He then simply has to lay out the chairs beneath it.
He is spoilt for space, and so he can have a
semi-permanent multi-mic brass or woodwind set up in
say the East aisle, and just turn his octagonal platform
to "´face the music"

And if he his looking for pop work, can't think of any client who would be
happy with only this.

How can you know until you discuss it with them?

I think many will be intrigued by such an
innovative idea.

Instead of an "open day" with dozens of people
milling around, I suggesred inviting potential clients,
producers, A+R, musicians etc separately
to a private visiti, to discuss their needs.
He will offer them recording "pilots" (a
weekend at half tariff to record three titles, then
overdub and mix) If the client is not happy,
and decides not to continue, he will not receive
an invoice. This is common practice in studios
wishing to expand their clientele.

His principle intention is not to do pop rhythm
(backing) tracks, but tracking, - (strings, brass,
woodwinds/saxes etc) taking advantage of the
natural acoustic of the recording space, which
I think will work well.

But, I also have an inkling that a Slingerland Radio King
double drum kit will sound amazing in that recording space,
as will a Strat with a Marshall full stack! Time will tell.

The idea of having the control area on some form of movable pod is novel,
but The problems involved in doing so make me ponder. ;-)

Yes. Copious pondering is required. But he who dares.........

Iain

In article ,
Iain Churches wrote:
Hmm. Pretty well known that things recorded on headphones will only
sound their best when listened to on headphones.

Indeed. They say the same about Tannoys:-)

Do they? It's a very long time since I've seen Tannoy or Tannoy based
speakers used as monitors in a serious studio. Except where a client
demands them.

They certainly had some good points, but neutrality was never one.

--
*Confession is good for the soul, but bad for your career.

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