After more than 30 years of trouble-free listening, your guarantee seem to have little value.
And what I wrote is that these speakers, who were specially made for the Philips studios, were bought by me from Philips Polydor.
But in you view you probably don't see Polydor as professionals.
Hans
You did not carefully read my quote. There is not a word about Philips and Polydor. For 30 years, you've been listening to electrostats. However, today you had the idea that you can connect them to an amplifier with a power of 1000 watts to get a sound pressure of 120 dB. Apparently for modern Philips and Polydor it is now very professional.
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Just like the time when he wrote "He is pretty sharp!" as someone's credential in audio electronics?
That may be so in someone's culinary credential.sharp is ‘better’ than dull
Sorry that I used a well defined term in America like 'SHARP'. I said that about Markw4, because I find him quick witted and technically competent, even when we exchange telephone calls between each other. How about keen, perceptive, sensitive? Or smart, knowing, or brilliant? That's markw4 !
Do you refer to the statement that Markw4 heard an actual difference in wire, perhaps for the first time? I commend him for his courage in admitting it. I hear differences in wire also, and have for many decades, although I lived for years (1960's) with just 16 or 18 ga lamp wire (zip cord) and the audio shop that I worked in in 1965-66 just used 16 ga zip cord, you know the side by side plastic rubber stuff, and thought it was OK at the time. Later, I tried different wires and zip cord went into the waste basket, and it is the same, today. NO zip cord! That is my recommendation.
Talking about the NS10’s, I find them unbearable for music reproduction. However, I can understand their presence in many recording studios; if the sound engineer can make a recording to sound acceptable on that junk, then it is guaranteed the recording will sound good on any other decent speaker.
I thought my question to you was about his credential in audio electronics. Unless you consider "keen, perceptive, sensitive? Or smart, knowing, or brilliant? That's markw4 !" as credential in audio electronics.
I've been waiting for someone to mention the only real reason to have an amp with high power: headroom, not average power.
When I was mastering CDs at AMI, the best labels kept the average level at -16 dB at least, some at -20 dB re: digital clipping.
If one is intent on passing peaks uncompressed or unclipped, the amplifier power to reproduce this material must also have 16-20 dB headroom over average level. This means with an average output level of 10 watts, the amplifier should be able to cleanly reproduce 400W-1KW peaks.
I would love to be able to afford a pair of John's JC1+ amps, I prefer acoustic suspension speakers and the Celestions I often listen to are rated at 87 dB 1W/1m. I strongly prefer an amplifier which can cleanly pass peaks 16-20 dB above average listening level, which for me would usually be around 90 dB. This means my amp needs to be able to pass 200-300 W peaks at least, frequency dependent.
This is another case where a single number does not fully express the situation: a speaker's power handling is not even across the spectrum, nor is it constant with time as the VCs heat up.
I am driving my Celestions with a B&K amp rated at 200 WPC, and sit ~10 feet away, and I can definitely drive it to peak clipping with some songs which are best listened to loudly...although I seldom listen that loudly...and no I am not deaf.
In a much larger room, sitting farther back with inefficient speakers I could see the need for a KW of headroom with an additional 6dB of path loss and/or speaker inefficiency.
Anyway, who says just because you have an amp with a KW of potential output power you have to use it? Just as a car which is safe at 100 MPH is more stable at a slower speed, so is an amp which is stable at a KW is likely more stable at 200 W than a 200 W amp.
Cheers,
Howie
When I was mastering CDs at AMI, the best labels kept the average level at -16 dB at least, some at -20 dB re: digital clipping.
If one is intent on passing peaks uncompressed or unclipped, the amplifier power to reproduce this material must also have 16-20 dB headroom over average level. This means with an average output level of 10 watts, the amplifier should be able to cleanly reproduce 400W-1KW peaks.
I would love to be able to afford a pair of John's JC1+ amps, I prefer acoustic suspension speakers and the Celestions I often listen to are rated at 87 dB 1W/1m. I strongly prefer an amplifier which can cleanly pass peaks 16-20 dB above average listening level, which for me would usually be around 90 dB. This means my amp needs to be able to pass 200-300 W peaks at least, frequency dependent.
This is another case where a single number does not fully express the situation: a speaker's power handling is not even across the spectrum, nor is it constant with time as the VCs heat up.
I am driving my Celestions with a B&K amp rated at 200 WPC, and sit ~10 feet away, and I can definitely drive it to peak clipping with some songs which are best listened to loudly...although I seldom listen that loudly...and no I am not deaf.
In a much larger room, sitting farther back with inefficient speakers I could see the need for a KW of headroom with an additional 6dB of path loss and/or speaker inefficiency.
Anyway, who says just because you have an amp with a KW of potential output power you have to use it? Just as a car which is safe at 100 MPH is more stable at a slower speed, so is an amp which is stable at a KW is likely more stable at 200 W than a 200 W amp.
Cheers,
Howie