^^You can get them inside through the window! Just rent a scissor lift!
Scissor Lift Rentals San Diego CA, Where to Rent Scissor Lifts in San Diego County
Scissor Lift Rentals San Diego CA, Where to Rent Scissor Lifts in San Diego County
An externally hosted image should be here but it was not working when we last tested it.
I thought you were building smaller speakers than the Summa's 
. That was the whole point of this exercise right? Or the Vandersteen's and all other projects...
Now we read here you just bought some bigger ones? I get that you're curious about them but to put these in the garage or storage where the Summa's were seems to be a bit of a waist to me. Not that it wasn't a waist i.m.h.o. to have to put the Summa's there (in storage) for no one to enjoy...
. That was the whole point of this exercise right? Or the Vandersteen's and all other projects...Now we read here you just bought some bigger ones? I get that you're curious about them but to put these in the garage or storage where the Summa's were seems to be a bit of a waist to me. Not that it wasn't a waist i.m.h.o. to have to put the Summa's there (in storage) for no one to enjoy...
I thought you were building smaller speakers than the Summa's
Now we read here you just bought some bigger ones? I get that you're curious about them but to put these in the garage or storage where the Summa's were seems to be a bit of a waist to me. Not that it wasn't a waist i.m.h.o. to have to put the Summa's there (in storage) for no one to enjoy...
I didn't "buy" them I "ordered" them
The SH50s are a temporary addition to the family.
Here's the really embarassing part:
After ordering the SH50s, I realized they wouldn't fit in my car. I was on the verge of renting a trailer from U-Haul ($15). Then I thought to myself, "I could use a trailer, so why don't I buy one."
Then I called my wife, told her I was going to buy a trailer ($2000.) Her reply was "why are you going to buy a trailer when you don't have anywhere to put it? (It's illegal to park trailers in San Diego.)"
So now I'm on my way to go look at trucks.
Addiction - Definition and More from the Free Merriam-Webster Dictionary
ad·dic·tion
an unusually great interest in something or a need to do or have something
Il a craqué, il a craqué....
... life is short. And no this is not an Addiction... Addiction comes when you sold the Honda to buy a Hummer to put in it the Danleys....Really hurry to hear your review and ask myself how they will feet in your "little" house if the Summa were too big already ? (Digital EQ from your source to padd the low end ?)
What did you learn about the listening distance and positioning with all the diy synergys you maid before ? I ask for the truck... how many feets ?
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those will sound very good
Common guys, let's launch a flying tickets GB for San Diego for the best Batman episode : Danleys vs Gedlees
There is a new US sound festival in USA San Diego : let call it "Bats-cave's men Festival"
But the Danleys are maybe for the cave or garden ! Come on... let's buy the block : the audiophiles quarter !
: you can't live here below 100 db ! (any job for me in marketing ?)
Sorry mods I stop, this ending year makes me crazy ! But yes, if true can't wait the listening review
There is a new US sound festival in USA San Diego : let call it "Bats-cave's men Festival"
But the Danleys are maybe for the cave or garden ! Come on... let's buy the block : the audiophiles quarter !
: you can't live here below 100 db ! (any job for me in marketing ?)Sorry mods I stop, this ending year makes me crazy ! But yes, if true can't wait the listening review
Nah, I'm renting them. Lots of places rent Prosound gear. There were two in my city alone that rent Danley. I'm guessing most people rent them for weddings; the shop was surprised when I didn't rent any amps.
Pure Groove Systems even has Jericho horns, I think those are available for rent too!
Here's why I posted that comment:
A few years back* I took the Synergy Horn concept about as far as I possibly could in a car. When I did that, I discovered something disappointing: 90% of the music that I listened to had zero soundstaging. Every once in a while I'd stumble across a track with real width and depth, but for the most part, music sounded mono, with some studio tricks thrown in for good measure. The whole experience was kind of a bummer, because I'd always wanted a stereo that could really image.
After that experience, I started looking for ways to make a big stage artificially. For instance, I've found that bipoles, dipoles and cardioids can add some additional ambience to a recording. Check out the setup of Gary Eickmeier** for a good example of how this is done.
For the most part, I've been leaning towards systems like that. If you check out most of my projects over the past year or two, they've been this type of system. A cardioid or dipole, pulled away from the walls, and oriented in such a way so that the reflections off of the room add some ambience, basically to combat that "giant headphone" effect that you get when you use very directional speakers. I've also been using a lot of waveguides with wide coverage angles, again, to illuminate the room a bit.
All of these things were done because I found that most recordings are crap.
There were a couple of things that gave me a glimmer of hope that there might be information in the recording that I was missing. The first was when I bought a pair of Vandersteens. The Vandersteens throw a soundstage that extends well beyond their physical boundaries. There are a lot of tracks where the stage on the Vandersteens is HUGE.
The other thing that gave me some hope was Ambiophonics. I found with ambio, that if you sat in EXACTLY the right spot, and you had speakers with really good phase, you could achieve the kind of holographic imaging that all the audio magazines gush about. That type of imaging where the room seems to disappear.
I hope you guys see where I'm going with this. What I'm describing is two competing philosophies. In the first philosophy, you basically create fake ambience by bouncing sound off the walls of the room. In the second scenario, the room seems to disappear, but you're head is basically locked in a vise.
The second scenario is really alluring, but both solutions I tried had faults. The dynamics of my Gedlee Summas are hard to beat, and the Vandersteens can't touch them in that department. I make some ambiophonic Synergy horns, but the ambio processing nuked the low frequencies, and you also had to sit in EXACTLY the right spot. Move your head even three inches and the illusion disappears.
The SH50s basically let you have your cake and eat it too. They sound so similar to my Vandersteens, if I had a blindfold I'd probably have a hard time knowing which was which. The similarities are uncanny. But the Vandys don't get loud, and the SH50s will get you evicted.
* http://www.diymobileaudio.com/forum...ussion/60146-creating-perfect-soundstage.html
** http://www.diyaudio.com/forums/multi-way/177403-linkwitz-orions-beaten-behringer-what.html
A few years back* I took the Synergy Horn concept about as far as I possibly could in a car. When I did that, I discovered something disappointing: 90% of the music that I listened to had zero soundstaging. Every once in a while I'd stumble across a track with real width and depth, but for the most part, music sounded mono, with some studio tricks thrown in for good measure. The whole experience was kind of a bummer, because I'd always wanted a stereo that could really image.
After that experience, I started looking for ways to make a big stage artificially. For instance, I've found that bipoles, dipoles and cardioids can add some additional ambience to a recording. Check out the setup of Gary Eickmeier** for a good example of how this is done.
For the most part, I've been leaning towards systems like that. If you check out most of my projects over the past year or two, they've been this type of system. A cardioid or dipole, pulled away from the walls, and oriented in such a way so that the reflections off of the room add some ambience, basically to combat that "giant headphone" effect that you get when you use very directional speakers. I've also been using a lot of waveguides with wide coverage angles, again, to illuminate the room a bit.
All of these things were done because I found that most recordings are crap.
There were a couple of things that gave me a glimmer of hope that there might be information in the recording that I was missing. The first was when I bought a pair of Vandersteens. The Vandersteens throw a soundstage that extends well beyond their physical boundaries. There are a lot of tracks where the stage on the Vandersteens is HUGE.
The other thing that gave me some hope was Ambiophonics. I found with ambio, that if you sat in EXACTLY the right spot, and you had speakers with really good phase, you could achieve the kind of holographic imaging that all the audio magazines gush about. That type of imaging where the room seems to disappear.
I hope you guys see where I'm going with this. What I'm describing is two competing philosophies. In the first philosophy, you basically create fake ambience by bouncing sound off the walls of the room. In the second scenario, the room seems to disappear, but you're head is basically locked in a vise.
The second scenario is really alluring, but both solutions I tried had faults. The dynamics of my Gedlee Summas are hard to beat, and the Vandersteens can't touch them in that department. I make some ambiophonic Synergy horns, but the ambio processing nuked the low frequencies, and you also had to sit in EXACTLY the right spot. Move your head even three inches and the illusion disappears.
The SH50s basically let you have your cake and eat it too. They sound so similar to my Vandersteens, if I had a blindfold I'd probably have a hard time knowing which was which. The similarities are uncanny. But the Vandys don't get loud, and the SH50s will get you evicted.
* http://www.diymobileaudio.com/forum...ussion/60146-creating-perfect-soundstage.html
** http://www.diyaudio.com/forums/multi-way/177403-linkwitz-orions-beaten-behringer-what.html
I can understand more now. Soundstage is one of your top list trade offs.
Basicly, each of us have different goals regarding him own experience, final goals, money, knowledge...when it comes to chose a speaker.
Mine is always tonal balance first. Which is hard because nearly impossible as it's a balance of many things: room modes, low end extension, balance between trebles and bass as well. My simple words are certainly weaks and not accurate to describe it.
I can live with less transparency and soundstage if the tonal balance is on the right side and I spend a lot of time in my simple tweaks not to sacrifice it. But lake of dynamics, even if i have a little of it at low db level on my actual low efficienty system (85 db)
My low efficienty system give some soundstage. But at the second position about trade offs (if we can really cut a air in 4 parts, what we call here the last drosophile's outrage to translate nearly a french famous sentence !), I really think the dynamic is the second part of a good tonal balance.
I'm really surprised than Gedlee Summa (without lisyten to them) can give a light and very dynamic mid because the transition between the 15" and the CD driver... but here Gedlee certainly had a smart crossover.
What is attractive with horn loaded system is theair impedance adaptation seem to give better results when taling about dynamics. This is my simple understanding when I'm reading the post !
But I' surprised than the high end of the SH50 is not more bright than a Vandersteen !!!! Did you match the volume when you listen both speakers to compare ? Does the room modes of the SH50 don't hide the détails or waste the tonal balance where you are listening it ?
Basicly, each of us have different goals regarding him own experience, final goals, money, knowledge...when it comes to chose a speaker.
Mine is always tonal balance first. Which is hard because nearly impossible as it's a balance of many things: room modes, low end extension, balance between trebles and bass as well. My simple words are certainly weaks and not accurate to describe it.
I can live with less transparency and soundstage if the tonal balance is on the right side and I spend a lot of time in my simple tweaks not to sacrifice it. But lake of dynamics, even if i have a little of it at low db level on my actual low efficienty system (85 db)
My low efficienty system give some soundstage. But at the second position about trade offs (if we can really cut a air in 4 parts, what we call here the last drosophile's outrage to translate nearly a french famous sentence !), I really think the dynamic is the second part of a good tonal balance.
I'm really surprised than Gedlee Summa (without lisyten to them) can give a light and very dynamic mid because the transition between the 15" and the CD driver... but here Gedlee certainly had a smart crossover.
What is attractive with horn loaded system is theair impedance adaptation seem to give better results when taling about dynamics. This is my simple understanding when I'm reading the post !
But I' surprised than the high end of the SH50 is not more bright than a Vandersteen !!!! Did you match the volume when you listen both speakers to compare ? Does the room modes of the SH50 don't hide the détails or waste the tonal balance where you are listening it ?
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