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Posted to aus.hi-fi,rec.audio.pro,alt.movies.cinematography,alt.audio.pro.live-sound
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... anybody actually talk about hi-fi here anymore
Harry Lavo wrote:
"Scott Dorsey" wrote in message I'll argue that back in the fifties, you could get more realistic sound if perhaps not as dynamic sound, from the AR-3 system than from any of the corner horns. Of course, you needed more amplifier power, which was a sticking point back then. I remember hearing my first AR-3 while at college....driven by a Dynaco 60 watt mono amp, with a PAS preamp and Bogen/Lenco TT (don't remember the cartridge). Was owned by the fellow who ran the college radio station where I was an engineer/announcer/dj. I remember in particular that it sounded more realistic on nightclub handclapping....but the sound never really got "out of the box". Of course, by then my main reference was my own Garrard/Norelco/Eico HF-20/Jensen Tri-ax corner system. Yes, the AR-3 is kind of a boxy sounding thing, and I think some of that comes from the lack of real detail in the top octave, and some of it comes from the woofer and tweeter radiation patterns not being matched very well. And some of it just comes from the way monkey box speakers sound. Life's like that. You want realism, invite some real musicians over. But, life today is a lot less like that than it was in the 1950s, in part due to the work of Thiele and Small, who changed everything. My dad's system, when one of the audiophile recordings of the day was played, put the musicians in the room. I remember particularly the red vinyl Audiophile Label "Red Nichols and the Five Pennies" and several of Emory Cook's musical "Sounds of Our Times" recordings (not steam engines). It ws not until surround came along (I'm a big SACD/DVD-A fan) that I could consistently achieve such presence. With my stereo sytem, even with full range Thiels driven by VTL's and playing very fine recordings (Jazz at the Pawnshop, for example), it was only an occassional phenomen. I think a lot of that sense of presence is due to the very narrow angle of radiation, so you're getting less of a room effect than you would with conventional speakers. This is a good thing, but frankly it seems a poor substitute for proper room treatment. --scott -- "C'est un Nagra. C'est suisse, et tres, tres precis." |
#2
Posted to aus.hi-fi,rec.audio.pro,alt.movies.cinematography,alt.audio.pro.live-sound
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... anybody actually talk about hi-fi here anymore
"Scott Dorsey" wrote in message ... Harry Lavo wrote: "Scott Dorsey" wrote in message I'll argue that back in the fifties, you could get more realistic sound if perhaps not as dynamic sound, from the AR-3 system than from any of the corner horns. Of course, you needed more amplifier power, which was a sticking point back then. I remember hearing my first AR-3 while at college....driven by a Dynaco 60 watt mono amp, with a PAS preamp and Bogen/Lenco TT (don't remember the cartridge). Was owned by the fellow who ran the college radio station where I was an engineer/announcer/dj. I remember in particular that it sounded more realistic on nightclub handclapping....but the sound never really got "out of the box". Of course, by then my main reference was my own Garrard/Norelco/Eico HF-20/Jensen Tri-ax corner system. Yes, the AR-3 is kind of a boxy sounding thing, and I think some of that comes from the lack of real detail in the top octave, and some of it comes from the woofer and tweeter radiation patterns not being matched very well. And some of it just comes from the way monkey box speakers sound. Life's like that. You want realism, invite some real musicians over. But, life today is a lot less like that than it was in the 1950s, in part due to the work of Thiele and Small, who changed everything. My dad's system, when one of the audiophile recordings of the day was played, put the musicians in the room. I remember particularly the red vinyl Audiophile Label "Red Nichols and the Five Pennies" and several of Emory Cook's musical "Sounds of Our Times" recordings (not steam engines). It ws not until surround came along (I'm a big SACD/DVD-A fan) that I could consistently achieve such presence. With my stereo sytem, even with full range Thiels driven by VTL's and playing very fine recordings (Jazz at the Pawnshop, for example), it was only an occassional phenomen. I think a lot of that sense of presence is due to the very narrow angle of radiation, so you're getting less of a room effect than you would with conventional speakers. This is a good thing, but frankly it seems a poor substitute for proper room treatment. --scott Very much agree with this, Scott. They obviously were designed optimally for corner placement and that design plus the horn approach meant no HF bouncing off the walls. Too bad we didn't start designing houses with "stereo-ready" living rooms, or we all might have horn speakers today! :-) |
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