Do you mean he was making love to his wife while posting a reply to my message?
It may make sense! Now I understand why some time ago you started calling me more often speaking longer!
No, I don't remember that. I believe they were Serbs, not Russians.
A simple misunderstanding I was mistaken possibly, we all had a good time and I don't know what JC is talking about. They probably were Serbs.
John what's your problem, I shared a funny story so everyone could have a laugh at my expense.
Last edited:
Destroyer: That description doesn't seem to work for me. Ah well, never did like being pigeonholed
MM vs MC I have not made a decision yet but am intending to give them both a fair crack with an open mind. I also think most of the problem with MM is the phono stages not the cartridges.
Well I thought you were a curmudgeon, so I think gen X is just fine for you... it's like an excuse for your behaviour where I can't hold it against you.
Most phono stages have bad power. But I'm not sure how wrong/bad they are. I'm using a modified one that isn't overly special and everything is ok thus far. By ok I mean world class-able, but only as a stand-in. (Working on other stuff)
They have the advantage that the low voltage input probably doesn't excite things like microphonics in the capacitors that may be used on input. They also tend to have some advantages in basic construction where resistors are deployed in most key areas which can dampen unknown baddies as a secondary function.
Have you ever used an LDR as an input resistor on a phonostage? Right or wrong measurement wise, it's nutty how much more pleasurable it is over a regular low distortion audio resistor.
Overall I think hordes of equipment gets judged poorly for it's inability to dampen it's output into oblivion to prevent "smearing" by an incompetent item farther down the line, or mask that with enough noise. Judging quality is... eh, well, no one is ever going to be congruent
A simple misunderstanding I was mistaken possibly, we all had a good time and I don't know what JC is talking about. They probably were Serbs.
Yes, and they brought great ribbon drivers, and huge omni-directional speakers that looked like chimneys.
A simple misunderstanding I was mistaken possibly, we all had a good time and I don't know what JC is talking about. They probably were Serbs.
It's funny how a Ukrainian fellow I know says everyone who isn't in a positive light is Russian.... seeing some similarity here.
iTouch Gen 6 is very nice.... Just sent one to my girl in Nepal along with new headphones and earphones. All sorts of apps can be downloaded. Plug a mic into it and do many acoustics measurements via built in ADC.
-RNM
Try Gruppirovka Leningrad; drunk Russians, plenty, but definitely not snoring.
Get them while they're hot, the Ipod touch probably will be discontinued next cycle.
It's the last remaining iPod of the family. Use Google Meetup to make free WiFI calls.
Apple and Best Buy sometimes have refurbs.
Last edited:
Brad isn't available for engineering work anymore. Maybe one day his name will show up in this search: https://www.google.com/search?q=fam....69i57j0l5.17513j0j4&sourceid=chrome&ie=UTF-8
So what is it that makes your powered speaker so special? Or are you going to have just sell on "high value/good sound" like I do.
Last edited:
I'm afraid even at my age I would rather drop in on a Pussy Riot concert.
https://en.wikipedia.org/wiki/Pussy_Riot
It means your mom wasn't waiting at home for you with a sandwich and a glass of milk after school let out.
It was grandma and a pot of tea and toll house cookies for me. The Austrian grandma the Ukrainian one did not have a mastery of cuisine to say the least.
Actually it was my 100% Austrian father who was very intelligent but WWII intervened and he never had a chance to realize his potential (serious PTSD didn't help, a good friend was blown to pieces by flak sitting right next to him) sarcasm became his lingua franca.
Scott I'll see your 1/4 Ukranian and add my 1/4 Ukranian/Russian grandfather from Odessa, got some of that Austrian also with some Hungarian, Romanian and some Dutch/German on top. A real European mutt!
I've taken what I think is a decidedly different approach to my speaker building since first patenting and developing advanced waveguide/horn lenses. I can't say I have ever followed the crowd, I just look at things differently and I try to exploit that with good design understanding to break the mold that I find so many follow.
One of the first aspects of my design is that very early in my conceptualization of the speaker I decided that I was going to set an extreme limit to the enclosure width. I did this for both aesthetic as well as acoustic reasons. I knew I didn't want to create a real wide enclosure like others have done to try and deal with edge diffraction. I realized long ago that at best all we can do about that effect is try and move the diffraction frequency lower in the band, but you can never eliminate the effect unless you are going to build a sphere. So I went the other way and created a very narrow baffle instead, I chose my poison. Since the enclosure was so narrow I had 2 basic choices, multiple stacked round cones to have any chance of cone area, sd, or as I decided to do I used an alternative cone shape, an ellipse. In this way with a very narrow width and enough height I have the equivalent cone area as a typical 7" (175mm) cone in the width a typical 4" cone would occupy. That and an extremely long excursion alone make my design unusual. Add in high power handling voice-coils with the long excursion and I don't know anyone else taking this approach. I have discussed with one of the real experts in speaker design about doppler shift and the very long excursion of this speaker design. I had an understanding that the shift in the front to back axis, of the cone would actually have a very different doppler shift effect than the typical side to side movement we associate with the doppler shift of a train whistle and such. Some of the research out of earlier studies showed that like some types of phase shift our ears are basically insensitive to the very small from to back movement of the cone, we do not have that kind of hearing acuity in that axis as long as the source stays centered to our ears. So I have exploited that to use both cone area and X-Max to produce prodigious amounts of real low bass, 35hz and up.
So those are just a few things that are different that create a sound you just don't expect from such a small size. I have my prototype pair that blindfolded an audiophile would identify as a large cone driver from that hit in the chest and gut that takes moving a lot of air. I never use a sub, it would just seem redundant. This will be intended to be used as a stereo pair but I guess if you wanted you could use one mono for a really compact unit. I could see someone wanting to use five or more in a home theater if they wanted something small but powerful. Also remember that I am actually making the composite cones, they exist nowhere else on this planet, at this point a trade secret how I make them and with what. Very patent-able but not sure it's worth the money to do that, Nobody would be crazy enough to make a cone this way!
This is going to have to be direct sales, any thoughts of having this in a store and having to add that kind of markup would ruin the price of the product, I don't want to do audiophile pricing, I have to keep the sales price down to make this product viable. For most audiophiles I think this is to different for them to wrap their heads around,it goes against to many audio myths.
I've taken what I think is a decidedly different approach to my speaker building since first patenting and developing advanced waveguide/horn lenses. I can't say I have ever followed the crowd, I just look at things differently and I try to exploit that with good design understanding to break the mold that I find so many follow.
One of the first aspects of my design is that very early in my conceptualization of the speaker I decided that I was going to set an extreme limit to the enclosure width. I did this for both aesthetic as well as acoustic reasons. I knew I didn't want to create a real wide enclosure like others have done to try and deal with edge diffraction. I realized long ago that at best all we can do about that effect is try and move the diffraction frequency lower in the band, but you can never eliminate the effect unless you are going to build a sphere. So I went the other way and created a very narrow baffle instead, I chose my poison. Since the enclosure was so narrow I had 2 basic choices, multiple stacked round cones to have any chance of cone area, sd, or as I decided to do I used an alternative cone shape, an ellipse. In this way with a very narrow width and enough height I have the equivalent cone area as a typical 7" (175mm) cone in the width a typical 4" cone would occupy. That and an extremely long excursion alone make my design unusual. Add in high power handling voice-coils with the long excursion and I don't know anyone else taking this approach. I have discussed with one of the real experts in speaker design about doppler shift and the very long excursion of this speaker design. I had an understanding that the shift in the front to back axis, of the cone would actually have a very different doppler shift effect than the typical side to side movement we associate with the doppler shift of a train whistle and such. Some of the research out of earlier studies showed that like some types of phase shift our ears are basically insensitive to the very small from to back movement of the cone, we do not have that kind of hearing acuity in that axis as long as the source stays centered to our ears. So I have exploited that to use both cone area and X-Max to produce prodigious amounts of real low bass, 35hz and up.
So those are just a few things that are different that create a sound you just don't expect from such a small size. I have my prototype pair that blindfolded an audiophile would identify as a large cone driver from that hit in the chest and gut that takes moving a lot of air. I never use a sub, it would just seem redundant. This will be intended to be used as a stereo pair but I guess if you wanted you could use one mono for a really compact unit. I could see someone wanting to use five or more in a home theater if they wanted something small but powerful. Also remember that I am actually making the composite cones, they exist nowhere else on this planet, at this point a trade secret how I make them and with what. Very patent-able but not sure it's worth the money to do that, Nobody would be crazy enough to make a cone this way!
This is going to have to be direct sales, any thoughts of having this in a store and having to add that kind of markup would ruin the price of the product, I don't want to do audiophile pricing, I have to keep the sales price down to make this product viable. For most audiophiles I think this is to different for them to wrap their heads around,it goes against to many audio myths.
Any chance to try it with my SE amp on BAF?
However, I have no Ukrainean blood, I am 100% Polish.
However, I have no Ukrainean blood, I am 100% Polish.
My mother's mother was from the Ukraine but her father was from Poland but in the old times weren't the borders ill defined? I remember a silly movie "Taras Bulba" where the Cossacks and Poles went at each other. The Poles got the shaft, literally.
- Status
- Not open for further replies.