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Old 29th November 2012, 07:29 PM   #301
dewardh is offline dewardh  United States
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Quote:
Originally Posted by ScottG View Post
Please kind sir, could you offer up a measly reference..
Polar response

C2 - L-07 Dipole loudspeaker
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Old 29th November 2012, 07:42 PM   #302
ScottG is offline ScottG  United States
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Originally Posted by dewardh View Post
Polar response

C2 - L-07 Dipole loudspeaker
Thank you!

Btw, he did have good reasons for not doing the phoenix as a more narrow dipole. And they are equally valid today.

Clearly the dipole tweeter was also there.

I guess the real question is why the "reversion" to an L-07 like format? What's changed?
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Old 29th November 2012, 07:47 PM   #303
ScottG is offline ScottG  United States
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Originally Posted by markus76 View Post
Why didn't you do it yourself?
Active crossover in the '90s. Not me. (..The best I could muster was Behringer digital crossover a few years later.)
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Last edited by ScottG; 29th November 2012 at 07:49 PM.
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Old 29th November 2012, 07:59 PM   #304
dewardh is offline dewardh  United States
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Originally Posted by Bob Richards View Post
I haven't heard the ugly looking LX521's, but the Orion's with the rear tweeters had some of the best sounding midrange and treble I've ever heard.
I've seen and heard both, don't find the LX521 "ugly" at all, and think that its midrange is, if anything, even better than ORION . . . certainly at least as good. On the issues of "imaging" and "acoustic scene" I'm still a bit more . . . agnostic . . . it so much depends on the room and the recording.
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Old 29th November 2012, 08:13 PM   #305
dewardh is offline dewardh  United States
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Originally Posted by ScottG View Post
I guess the real question is why the "reversion" to an L-07 like format? What's changed?
An evolving appreciation of the importance of the perceived direction of early reflections to the creation of an "acoustic image". At the time I think that he felt that getting the "spectral balance" of the reflections (ie. power response) right was sufficient. For most recordings it probably is.

Part of the impetus for LX521 was to produce a practical "monitor" that would let recording engineers actually hear the image that they are (or are not) capturing. They will never get it consistently right using the typical "studio monitor" . . . and without decent source material it doesn't matter what we do for speakers at home.
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Old 29th November 2012, 08:21 PM   #306
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Originally Posted by dewardh View Post
An evolving appreciation of the importance of the perceived direction of early reflections to the creation of an "acoustic image". At the time I think that he felt that getting the "spectral balance" of the reflections (ie. power response) right was sufficient. For most recordings it probably is.

Part of the impetus for LX521 was to produce a practical "monitor" that would let recording engineers actually hear the image that they are (or are not) capturing. They will never get it consistently right using the typical "studio monitor" . . . and without decent source material it doesn't matter what we do for speakers at home.
The LX521 as a studio monitor? Seriously? Commercial studios are dying and small project studios become the norm. Neither space can accommodate a omni type of speaker.
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Old 29th November 2012, 09:08 PM   #307
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Sorry about calling the LX521 "ugly". It's just me. I would have made the Pluto look like a roman column too (a shaped acoustic foam wrap?). I love old art. Modern art rarely looks good to me.

I agree with Markus76 about using omni speakers in a mixing environment. Omni's bring into play the acoustics of the mixing room as an enhancement that most listeners won't have.

The funny thing about trying to create the best speaker you can, is that you may find yourself motivated to make some of your own recordings, perhaps using headmics or matrixed arrays or ? How else can you really judge imaging fidelity? At which point you might learn more about why Patricia Barber's voice seems "too large to be real". What's a mono mic going to do for image localization? Maybe that's how she wanted it.

I'm intrigued about the recordings David Griesinger has made, using hyper cardioid mic pairs (coincident pairs and head mics I think), for better stereo effect of individual instruments or singers. I've read about it and wonder if any of these recordings are available (?) Linkwitz offers a demo CD with recordings using a variation of a head-mic (his head - mics mounted on corners of glasses frame). Maybe Griesinger has a similar demo CD with a more state-of-the-art headmic? Does anybody know?

I found a bunch of free "binaural" recordings on the web, but don't know the details of how they were made in most cases.

Last edited by Bob Richards; 29th November 2012 at 09:14 PM.
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Old 29th November 2012, 10:05 PM   #308
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Originally Posted by dewardh View Post
I've seen and heard both, don't find the LX521 "ugly" at all, and think that its midrange is, if anything, even better than ORION . . . certainly at least as good. On the issues of "imaging" and "acoustic scene" I'm still a bit more . . . agnostic . . . it so much depends on the room and the recording.
Better polar response is one factor, the other is not pushing that 8" metal cone Seas too high !
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Old 29th November 2012, 10:54 PM   #309
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Great FAQ posted on Linkwitzlab

linkwitzlab.com/LX521/FAQ.htm

From the tone of the FAQ perhaps SL is montoring the DIY boards, although not contribute/post.

It seems he suggest that we need to stop complaining about the looks and start building/listening
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Old 29th November 2012, 11:02 PM   #310
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Originally Posted by gainphile View Post
Great FAQ posted on Linkwitzlab

linkwitzlab.com/LX521/FAQ.htm

From the tone of the FAQ perhaps SL is montoring the DIY boards, although not contribute/post.

It seems he suggest that we need to stop complaining about the looks and start building/listening
Yep.
I would never build somebody else's design, no matter how good it is.
To me DIY is....
Design
It
Yourself
Where is the fun in copying somebody's work?
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