Not the ones I like, I don't think so. Usually they just are seen as having enough "Sturm und Drang", for lack of a better term. Not "Technicolor" enough, might be another way of describing it.They tend to be dismissed by the audiophiles as being "shouty".
Not at all. I've posted about them many times, to the point of tedium really. The speakers in the story were Jean Hiraga's modified VOTT A5. Old tech, but good tech well implemented and thoroughly updated. They aren't the only speakers I've heard that do the "real" thing, just my favorites. I've heard small bookshelf speakers do it, large open baffle, cardiods and others. Most can't do it consistently across many genres and records.Well regardless of sound , at least their identity is secretive ...
I have heard much of Hiraga's speakers, almost as much as his amps, but I was unfortunate in never even seeing one live.
I would have LOVED to have heard them. Hiraga has a way of dispensing with everything and getting right down to the essence of things. A man who deserves utmost respect, methinks.
Even after French Fries became Liberty Fries.
I would have LOVED to have heard them. Hiraga has a way of dispensing with everything and getting right down to the essence of things. A man who deserves utmost respect, methinks.
Even after French Fries became Liberty Fries.
Horns??? "Told you so".... you liked "shouty" all the way ... now don't get me wrong... it's the "audiophiles" that are wrong about it... for them, if it sounds any less "warm" than a vintage Marshall bass guitar box, it's either "shouty" or "shrill" or "bright" or a combination of them. They cover their precious golden ears with their hands and run with a painful expression on their face.
What I found is that realism (like in "huh is someone playing a trumpet right here in this room") can be achieved only through a good, energetic rendition of the upper midrange (usually described as being "shouty"). Which horns usually do very well. Treble doesn't seem to be that important. Increasing it helps get the "shrill" or "bright" attribute, without much benefits.
Agreed too, I believe you gents would love to hear these in action:
1400 Array Floorstanding Speaker | JBL Synthesis
They weren't "shouty" enough....
Now seriously. If you have an equalizer or some other form of tone control at hand, and this CD - Alison Balsom - Bach - Works for trumpet - try to make it sound like she's playing it in the room, right above the speakers, or slightly forward.
Hints - don't bother with the bass, a trumpet doesn't have any worth mentioning. Don't bother with the treble either, you can dial +-6dB at 10kHz with no benefits. Try around 2kHz. When you get it right it's awesome. After that, play some more mundane CD - some pop music. It will sound "shouty", although you'll find out now that vocals are very clear and present and you can understand all the lyrics. I'll leave it up to you to find the explanation. I'll just add that most speakers these days are crossed over at around 2kHz too.
...yet everything from 750Hz up to 8kHz comes out coherently from a single speaker... there's no crossover right in the middle of the vocals range....
That's at least an octave higher than the top of a soprano's range (wrt fundamentals).
C'mon folks I wrote "range" not "fundamental".
5 Need-To-Know Frequency Areas of the Vocal
BTW just for fun, for a glass shattering, hair raising experience, I recommend listening to Natalie Dessay's interpretation of "Salaviei". Turn it loud
5 Need-To-Know Frequency Areas of the Vocal
BTW just for fun, for a glass shattering, hair raising experience, I recommend listening to Natalie Dessay's interpretation of "Salaviei". Turn it loud
Yes, Huh Uh ,
But what about the coherency, the dispersion and power drop off rate are not compatible. It's inherent in all 2 way bass reflex, horn loaded mid/high driver based systems.
Very difficult to get any coherency from a setup like that ....
The shout is what it's all about ...
Seriously, Kirchhoff is talking about what it's all about - the system has to be able to play realistic sound levels with integrity - when the system doesn't have integrity then you get lots of "shout" -- known by some of the, privileged, cognoscenti as 'distortion' ...
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