In fact, I am trying to put it up an an attachment. If that does not work, please message me.
I knew Fried quite well from 1976 on. He was a bit of a sharp operator and a self-promoter, and I later learned he signed engineers to non-disclosure agreements so they would not get the credit they deserved.
It's an interesting document, even if only to show how far today's common practices are light-years opposite from Fried's orthodoxies such as, a woofer should be crossed over at 100Hz, first order, series crossover, and so forth.
That said, the Fried R3 3-way had an amazing midrange timbre, quite reminiscent of the QUAD ESL-57. Sublime on orchestral strings.
Have fun,
john
I knew Fried quite well from 1976 on. He was a bit of a sharp operator and a self-promoter, and I later learned he signed engineers to non-disclosure agreements so they would not get the credit they deserved.
It's an interesting document, even if only to show how far today's common practices are light-years opposite from Fried's orthodoxies such as, a woofer should be crossed over at 100Hz, first order, series crossover, and so forth.
That said, the Fried R3 3-way had an amazing midrange timbre, quite reminiscent of the QUAD ESL-57. Sublime on orchestral strings.
Have fun,
john
Thanx. We sold a lot of Rs. A real stand-out in the day.
Bud visited ay least a few times.
Do you have any of the plans? I have a few.
dave
Bud visited ay least a few times.
Do you have any of the plans? I have a few.
dave
No, I don't have any plans. I did not ask the woodworker to give them back to me when he built my C3/O2 cabinets. Back then, even most stereo salesmen were rather uninformed. It took me a long time to learn that a power amplifier's current was more important than its wattage, etc. So I plunged into self-education, and ended up spending 20 years writing first for The Absolute Sound and then Stereophile.
The speakers I regret not buying when I could have were the third or fourth "running change" to the original Wilson Benesch ACT One.
I loved the things the Museatex planar magnetic speakers did well, but it got to the point where the things they did not do well were more important.
ciao,
john
The speakers I regret not buying when I could have were the third or fourth "running change" to the original Wilson Benesch ACT One.
I loved the things the Museatex planar magnetic speakers did well, but it got to the point where the things they did not do well were more important.
ciao,
john
Yep!
"We must mention "active" crossovers (ahead of the amplifiers), bi amplification, and such; beloved of the "esoteric", "freak" fringe of the industry. Active crossovers can
be useful in joining together loudspeaker elements that are otherwise poorly matched, vis a vis impedance, sensitivity, and resonant systems. Their use, however, has no effect
whatsoever on phase, our primary concern."
Utter hogwash today.
"We must mention "active" crossovers (ahead of the amplifiers), bi amplification, and such; beloved of the "esoteric", "freak" fringe of the industry. Active crossovers can
be useful in joining together loudspeaker elements that are otherwise poorly matched, vis a vis impedance, sensitivity, and resonant systems. Their use, however, has no effect
whatsoever on phase, our primary concern."
Utter hogwash today.
Well, I DID say:
"It's an interesting document, even if only to show how far today's common practices are light-years opposite from Fried's orthodoxies... ."
But I believe that I.M.F. had gone to the Great Harvard Law-School Reunion in the Sky long before Hypex hatched their DSP plate amps.
ciao,
john
An insider told me that the prototype of the design Kurien Jacob of Museatex bought had an aluminum frame, and that to save money, the production versions had MDF frames, and the SQ difference was night and day. IIRC, the MDF was unpainted and not varnished, so the tendency to absorb atmospheric moisture was unchecked.
The ever-present problem of trying to make a great design more afforable at the same time as making it more profitable, and then eventually someone asks, "Where did the greatness go?"
ciao,
john
PS:
I went looking for early mentions of in-room Loudspeaker DSP, and the earliest public showing of a genuinely real and available commercial product. That was Kevin Voecks' of Snell Acoustics' demo of the SigTech AEC-1000 Acoustic Environment Correction filter from Cambridge Signal Technologies, as reported by Peter W. Mitchell in Stereophile magazine in 2008.
https://www.stereophile.com/asweseeit/1092awsi/index.html
So, 14 years ago.
BTW, the unit sold for $10,000 and you also needed a PC computer.
ciao,
jm
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