That horn was a variation that emerged from trying to improve radial fin horns. The Entrance to the horn is 2" square like the A290 and can be used with whatever sized driver through an adapter plate. All drivers will need an adapter plate of some kind. It has a Hypex expansion T=0.7 and Fc of 325Hz, so it is not quite as big and does not load quite as low as the A290. This was partly my requirements as I did not want something significantly wider than a 15" driver in a box. 2" or 1.4" drivers are more of a natural fit as the horn will allow for a low crossover, but there are 1" drivers that could perform well on it too. The expansion is very close to the intended Hypex and as such has a pretty textbook Radiation Impedance for that design. That is not always the case.
The main motivation was to avoid any midrange narrowing and to make the directivity as smooth as possible in both planes. I like it as an alternative because the directivity traces are nicely delineated as the angles change and the main loss of directivity in the horizontal happens quite high and outside the listening window. The JBL 4367 has something like that happening too, a little bit like Magico do with their voicing. I am interested to hear what this sounds like.
It's imaging is wonderful and if that Bongo gets hit, with enough output down low, it's quite realistic...
It's a track most people are familiar with and can be a fun example of getting that "being there" feel.
In imaging we can have a "they are here" or an "I am there" feel to it. My goal has always been that last one.
Thank you clarifying Wesayso.
Got it but... in my view it cannot be a 'being there' track as it is a multimic'ed performance ( even worst guitars use internal piezzo mic, there is no microphone used to capture the acoustic output of instruments).
That's why i said it is nicely engineered: gives the feels to be there but it's all an illusion ( like 99% of recordings are anyway).
Thank you bringing back 'Ghost song' to memory. Jim Mo had such a great voice. Got to listen 'L.A. Woman' last night because of you. Always amazing to listen to 'Riders on the Storm' .
About great guitar recording an absolute classic ( about the music, but how honest was the recording too imho), three virtuoso touched by grace:
Got it but... in my view it cannot be a 'being there' track as it is a multimic'ed performance ( even worst guitars use internal piezzo mic, there is no microphone used to capture the acoustic output of instruments).
That's why i said it is nicely engineered: gives the feels to be there but it's all an illusion ( like 99% of recordings are anyway).
Thank you bringing back 'Ghost song' to memory. Jim Mo had such a great voice. Got to listen 'L.A. Woman' last night because of you. Always amazing to listen to 'Riders on the Storm' .
About great guitar recording an absolute classic ( about the music, but how honest was the recording too imho), three virtuoso touched by grace:
The've done a good job of that.
and that's the point, isn't it?How can I get a "being there" feel with Infected Mushroom... yet, time and again they just suck me right in with their music
.It's all virtually created, yet it paints a believable picture of space with depth etc. It's all about the illusion.
Same withe the Malia & Boris Blank, that one is the best examples of wrap around music I know off, it completely surrounds you with ambience.
(think David Griesinger theory, it really works on these songs)
Take another Audiophile favorite:
That song is plain wrong. The piano, you hear the notes glide from low in center, to up high to the right, yet Anne is facing us...
That's The Exorcist stuff right there
.(sorry, taking down that picture again, google Exorcist pictures to see what I mean
)
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Well, totally agree it's the point.
And i can't say the example i linked are acousticly realistic either! Lol.
I kind of disagree about Anne Bisson's track: it mimic how the players would have been located on stage ( if the recording had been played live which i doubt as there is no diaphony ( mic bleeding ) and every instrument is 'cristal clear': piano on right, double bass on the left singer in front and drums behind her.
But what makes me feels like 'the exorcist' is to be at the place of drumer... and listening others has if they were in front of me and (i)was part of the crowd attending the event.
The engineer at work is probably a former drumer as they tend to do that as they are used to listen to there instrument this way.
It's all about choices. And as there is aesthetical preferences at play there is no right or wrong.
When i listen to this kind of production choice for 'live' music it bothers me: it's unrealistic to me, this is not how the music sound when played. Too clean.
I can get the need for it for some genres but not for jazzy things, blues, rock...
Question of preference.
Malia and Boris Blank's track i didn't know about. Yello was a favourite of mine when i was a kid ( didn't know who produced the track which was used extensively during 80's 'The Race', until i started to be in audio engineering).
And i can't say the example i linked are acousticly realistic either! Lol.
I kind of disagree about Anne Bisson's track: it mimic how the players would have been located on stage ( if the recording had been played live which i doubt as there is no diaphony ( mic bleeding ) and every instrument is 'cristal clear': piano on right, double bass on the left singer in front and drums behind her.
But what makes me feels like 'the exorcist' is to be at the place of drumer... and listening others has if they were in front of me and (i)was part of the crowd attending the event.
The engineer at work is probably a former drumer as they tend to do that as they are used to listen to there instrument this way.
It's all about choices. And as there is aesthetical preferences at play there is no right or wrong.
When i listen to this kind of production choice for 'live' music it bothers me: it's unrealistic to me, this is not how the music sound when played. Too clean.
I can get the need for it for some genres but not for jazzy things, blues, rock...
Question of preference.
Malia and Boris Blank's track i didn't know about. Yello was a favourite of mine when i was a kid ( didn't know who produced the track which was used extensively during 80's 'The Race', until i started to be in audio engineering).
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Me it's the drums... we definetly listen to different things! 👍
Decided to give a listen to Dave Brubeck quartet's 'Take five'.
Holly molly!
Those players were great and technicians recording them were very, very good. Mono but you have sense of depth, and width... i know it's not only the technicians but players knowing how to manage their levels in relation to each others... but such a lesson.
Decided to give a listen to Dave Brubeck quartet's 'Take five'.
Holly molly!
Those players were great and technicians recording them were very, very good. Mono but you have sense of depth, and width... i know it's not only the technicians but players knowing how to manage their levels in relation to each others... but such a lesson.
This is "All Of Me", Jazz at Lincoln Center Orchestra (Wynton Marsalis), with guest pianist/composer Dick Hyman. If you can hear this recording in 24 bit/96k high definition, it does everything right. Excellent clarity and detail, all the instruments are well balanced. A great sense of space, it feels like a front row seat in a large hall. And the performance is spot on, very engaging.
Just a spitball guess, but I think it is an autonomic response (this means you can't control it). The brain is saying "this source/timing is wrong" in the middle of a song. For me, anything from the band Queen sounded wrong when I used a small tweeter near 44mm rounding. The GD was slow due to the XO/SD and it just made a mess in the decay.
I use this track. Thanks for introducing me to it way back when. I won't forget the time I first heard it. (hifijom's textremes can cause walls to shift out of reality during music)
At the start of the track, the piano on one side is very telling- If there are any GD issues the piano won't sound musical.
I do listen to it for fun too.
Another very well produced and good original soundtrack:
https://youtube.com/playlist?list=PLqnnuEVGcRQy6dzmNbXJpU5mfGXVoaCqT
https://youtube.com/playlist?list=PLqnnuEVGcRQy6dzmNbXJpU5mfGXVoaCqT
Some years ago I managed to capture Australian Broadcasting Corporation’s live stream of the world premiere of Philip Glass’ Complete (20) Piano Etudes in 2013.
https://www.abc.net.au/radionational/programs/musicshow/philip-glass-interview/4522096
This was a deeply personal and moving performance by Philip Glass and Sally Whitwell that has yet to be replicated or exceeded IMHO. Perhaps this was because it was the first time Philip himself had heard all his own etudes in the one sitting!
The recording captures all of the energy, thrill, brooding and melancholy but unfortunately also a faint low level continuous hum. Present through the whole 2 hour performance.
Unfortunately it’s been taken down and I’m not certain with ABC has copyright of this, but I cannot find this on YouTube.
If anyone can help remove this faint hum/buzz please start a conversation with me.
https://www.abc.net.au/radionational/programs/musicshow/philip-glass-interview/4522096
This was a deeply personal and moving performance by Philip Glass and Sally Whitwell that has yet to be replicated or exceeded IMHO. Perhaps this was because it was the first time Philip himself had heard all his own etudes in the one sitting!
The recording captures all of the energy, thrill, brooding and melancholy but unfortunately also a faint low level continuous hum. Present through the whole 2 hour performance.
Unfortunately it’s been taken down and I’m not certain with ABC has copyright of this, but I cannot find this on YouTube.
If anyone can help remove this faint hum/buzz please start a conversation with me.
Hi, if no one else shows up I can give it a stab. I've got few years old iZotope RX package which can do it.
edit. the latest version is on sale 29$ https://www.izotope.com/en/shop/rx-10-elements.html
If you do recording/archiving I suggest you to buy it for yourself
edit. the latest version is on sale 29$ https://www.izotope.com/en/shop/rx-10-elements.html
If you do recording/archiving I suggest you to buy it for yourself
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I went and looked at the music section of the forum and saw a whole lot of music selections for all kinds of things ranging from speaker evaluation to tracks posted out of general interest.
Then I felt like there is no need for me to start one more redundant thread about music to test speakers etc. So let all the music-related discussions too continue in this thread.. I am enjoying all this.. Thanks to everyone for posting all these songs..
By the way, I like this band (in general). They sort of invented a genre called Carnatic progressive rock. A blend of traditional Indian (Carnatic) classical music and more modern music. I like music with bass guitar & drums a lot (I even used to play a tiny bit of guitar too while in grad school).
I don't know if their music can be used for speaker evaluation though
I like all of their songs but these are two of my favourites:
In the following video, I am the guy on the bass guitar in the blue shirt ;P (Thanks to the way the mics were set up and due to the guy who was controlling the recording equipment, the bass guitar was completely inaudible in recording )
Then I felt like there is no need for me to start one more redundant thread about music to test speakers etc. So let all the music-related discussions too continue in this thread.. I am enjoying all this..
Thanks to everyone for posting all these songs.. By the way, I like this band (in general). They sort of invented a genre called Carnatic progressive rock. A blend of traditional Indian (Carnatic) classical music and more modern music. I like music with bass guitar & drums a lot (I even used to play a tiny bit of guitar too while in grad school
).I don't know if their music can be used for speaker evaluation though
I like all of their songs but these are two of my favourites:
)
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So while listening and exploring new music (for me) is going on (slowly), I got two books to read too..
(Technical books are other things that I can hardly stop myself from buying (like speaker drivers) )
One book is this:
Fascinating book.
Lot of history, pictures and technical discussion about horns
The other book is this:
http://www.gedlee.com/Books/AudioTransducers.aspx
Gedlee's book is a bit heavy on math. But I make slow progress reading through the chapters
There was some very interesting discussion about the differences in approach to horn theory by Gedlee and Bjorn Kolbrek here:
http://www.gedlee.com/Papers/Horn Theory reply.pdf
This is what motivated me to start reading these books initially..
In the meanwhile, I have started shifting my belongings to the new apartment and things will take a few weeks to settle down (hopefully)
(Technical books are other things that I can hardly stop myself from buying (like speaker drivers)
)One book is this:
Fascinating book.
Lot of history, pictures and technical discussion about horns
The other book is this:
http://www.gedlee.com/Books/AudioTransducers.aspx
Gedlee's book is a bit heavy on math. But I make slow progress reading through the chapters
There was some very interesting discussion about the differences in approach to horn theory by Gedlee and Bjorn Kolbrek here:
http://www.gedlee.com/Papers/Horn Theory reply.pdf
This is what motivated me to start reading these books initially..
In the meanwhile, I have started shifting my belongings to the new apartment and things will take a few weeks to settle down (hopefully)
I think anything that you like or know very well is a good track for evaluation, and spreading the genres as wide as you can is good for a long term evaluation.So let all the music-related discussions too continue in this thread.. I am enjoying all this..
For me the biggest separator of speakers from good to bad comes when the tracks become dissonant, dense and difficult. I have almost never heard an audiophile style sparse recording sound truly bad, doesn't take a genius to work out why it is played in almost every demo room anywhere
Here are some tracks I use in evaluation as they all have something different or display an emphasis that can be useful to listen to.
Silverchair's Frogstomp album has plenty of parts that don't sound great on unbalanced systems.
Show me how to live from Audioslave is similar.
Jambi from Tool is very bass heavy and polyrhythmic.
Chocolate Chip Trip from Tool has some wild stereo imaging that sounds like it's flying round the top of the room to me lots of phase tricks in the production.
Patricia Barber - Regular Pleasures has some really low bass notes if your woofers can play them.
I like Psy Trance for some of the bass lines, Shadow Chronicles is good.
Anything from Iron Maiden is sensitive to 3K and vertical reflections.
I like Fleetwood Mac's the Chain for the bass and drums interplay and how the kick drum sounds. This is one I use for testing low frequency phase correction.
Together with Copperhead Road from Steve Earl. Kick drum in that sounds huge when it's right.
Trio Toykeat - Starman has some dissonant piano.
Of the album Jim posted I like "Four by Five"
For funk horns the last minute of Prince's Billy Jack Bitch is good, the keyboard player puts it into words at the end of the track.
Virtuoso Acoustic guitar, Mike Dawes, all the tricks and sounds an acoustic guitar can make come out there.
I went through the Harman list and I can't say there is much on there that I would bother with, either for pleasure or evaluation.