One should not underestimate the LS3/5As.
The speakers in my den are Altec A5s. I have upgraded omnidirectional (Carlsson OA51) speakers for background music in our living room. I have also built a couple of LS3/5A clone pairs for my daughters.
My point is that these are very different speakers, but all are quite good in their own way.
As an example the combo B1 Korg-FW M2 and Ls3/5a clones is wonderful, you can play all kinds of music all day and all night and never get tired of listening, the amps and speakers disappear from the equation and all you do is listen to wonderful music.
If I had to move to a small apartment tomorrow this would probably be my system of choice.
The speakers in my den are Altec A5s. I have upgraded omnidirectional (Carlsson OA51) speakers for background music in our living room. I have also built a couple of LS3/5A clone pairs for my daughters.
My point is that these are very different speakers, but all are quite good in their own way.
As an example the combo B1 Korg-FW M2 and Ls3/5a clones is wonderful, you can play all kinds of music all day and all night and never get tired of listening, the amps and speakers disappear from the equation and all you do is listen to wonderful music.
If I had to move to a small apartment tomorrow this would probably be my system of choice.
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Something like all the studios mixing on Yamaha NS-10's when there are beautiful full range Altec/Audiomarketing Big Red's hanging on the walls.
The idea is to do a mix that sounds good in people's homes or in shopping malls or over car radios. So doing that mix on NS-10s makes way more sense than doing it on the beautiful Big Reds.
When I was working at various radio stations in the 80's and 90's, 2 of the stations used exclusively, JBL 4311's in every control room, recording studio, engineering rack and even at the FM TX site. We also used little Auratone single driver speakers sitting on the meter head of the recording consoles for ensuring it sounded good in, like you mentioned, cars, malls etc.. The other station, a top rock station in Vancouver used different speakers in every room it seemed, and there wasn't a standard between studios. However, when they moved into a new building, there was a loading dock full of gear waiting for the big dumpster to arrive, which is where I rescued the Big Reds from, along with 10 or so ATR-102s, studio mics, and all sorts of EQ's and amps. What a shame I couldn't get more in my truck.
It's funny, I have actually been trying to find a set of NS-10s for a few years as my son was making some recordings of his band, but I couldn't find anything local, I was also curious to hear them against my other speakers, just out of curiosity, one day maybe a pair will find me.
Cheers
I assume to prevent the low end response from cutting off to early.
20,000µF with a 4Ω load is down 3dB at 2Hz. I suspect this also keeps the phase deviation close to flat to near 20Hz. You could probably get away with a lower value if you are drive 8Ω or higher loads or aren't concerned with phase deviation at low frequencies (below 100Hz).
That's my educated guess
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Gramophone Dreams #43: First Watt F8 power amplifier | Stereophile.com
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Always the same game......
Pictures at 6moons arise more questions than they solve.......
A 3W resistor that seems to be connected to the pos rail, bleeder for the output caps?
Normally this goes to ground. A feedback resistor? Connected to the pos rail...
Nonsense!
Two caps around the opto where normally is one.......
I am sure these are all fake parts Nelson mounted to irritate me and Lynn.....!
Pictures at 6moons arise more questions than they solve.......
A 3W resistor that seems to be connected to the pos rail, bleeder for the output caps?
Normally this goes to ground. A feedback resistor? Connected to the pos rail...
Nonsense!
Two caps around the opto where normally is one.......
I am sure these are all fake parts Nelson mounted to irritate me and Lynn.....!
