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Hi Scott, yes, the PM8A is in fact just a special version of the PM6A with more flux, but as a result it may have a bit more ‘bite’. Although you no longer see it on the Lowther website I have seen new units advertised somewhere (Denmark I think).
Hi Charles, I must admit to having developed a prejudice against whizzers from reading too much on here! Then I got the Audio Nirvana Super Ferrite 15” and all my concerns from a subjective listening perspective and especially treble dispersion were swept away... And I expect the key here is ‘subjective’ and why some people would forfeit a holiday in Hawaii before giving up their Lowthers (insert other good names in here).
Hi Charles, I must admit to having developed a prejudice against whizzers from reading too much on here! Then I got the Audio Nirvana Super Ferrite 15” and all my concerns from a subjective listening perspective and especially treble dispersion were swept away... And I expect the key here is ‘subjective’ and why some people would forfeit a holiday in Hawaii before giving up their Lowthers (insert other good names in here).
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Yes - those of us who grew up with valve amplifiers were very grateful for the improvement that good solid state amplifiers brought 🙂 LOL
And many who spend £XXXXs on special speaker leads might well fit your category of people who spend lots of money, and for me the hype of a German brand of full range drivers claiming they go up to 80kHz likewise.
I'm not sure about harmonic distortion of the drive units however. Ensuring minimum cone movement minimises Doppler and Intermodulation distortions and in that effort horns might have their place.
For sound reinforcement here's an outside event driven with Audio Nirvana units in Prophecy Audio style horns, Alessandra Testai and Richard Black Hammerwood open air concert - YouTube and here Jazz concert at Hammerwood Park in aid of Action Against Cancer - YouTube particularly chosen for their specific ability to be alive and here Scarlatti sonatas on harpischord cembalo and piano Hammerwood Park open air recital - YouTube sound reinforcement with a pair of TP1s. This is what I call performance speakers, and a pair of Lowther Audiovectors at the end of the room will give the illusion of being in any concert auditorium or opera house.
This thread is specifically about use of speakers for recording mixing. The requirements for that need to ensure that one part of the audio spectrum isn't more prominent than any other.
Were I not to have my Tannoy 611s I'd be using the DX2s in the TP1s as demonstrated by the response graphs I've given here. It would be nice to see others back up claims with frequency responses also.
Best wishes
David P
Hmmm... what always suprise me is the tendence to make definitive assertion by people, in general.
When I was young and was studying in Conservatory the top phrase was "everything not classic isn't music". When I approach the world of pop music the phrase was "Classic music isn't rhytmical" (say it to Bach, Beethoven or Stravinsky...). I have piano and harpsichord diploma, I played a lot by myself and in conjunction with other instruments, and in my experience as arranger I know very well the acoustic impact of a drum or a saxophone in a near field.
I can't make sentencens for other's ear, I'll never listen music on a Dynaudio system (I had them and quickly resell), but I can't (and I don't want) to convince Bill to hear music with a Lowther. I experimented Supravox, Altec 755, Fostex, Audio Nirvana... they simply aren't my food.
Lowther is a collection of defects, but they bring the most remembering reality of an instrument's voice, for me, even if I know that I have to work a lot on them to smooth this defects. It's a hard concept, I don't know how to explain it, I know that there are better sounding speakers, but I'm not in search of a nice sound, I'm in search of something that can tickle my earing memories, giving me the best approximation to them.
Never heard a horn load I was pelased with, when I try to detect the chromatic passages in the bass and middle bass region I hear a lot of confusion, I don't want "more" or "less" bass in a speaker, I want to distinguish easily a F#-1 from a G-1, as is in the real life.
Sincerely I don't go back with a multi way system, I remember well years of work passed triyng to understand what a pair of NS10 was attempting to say to me, most of the time the result was only a strong headache.
But I know, these are my ears, I can be completely wrong for other freind's ear, the only thing that I can say is that when a lot of audiophile people (friends or not, passionate or commercial) listen at my main system they like it a lot, and all make the same fun thing: move their eyes in every direction captured by the spatial focalization of the various acoustic source created by my system (if the recording is good, obvoiusly, nothing can be done with the inexplicabile tendency to put averything that is renaissance music in a infinite tunnel...).
Please don't be angry and let me try to tame my beasts...
...and have a nice time with music you all!!
uh, and, Bigun, great phrase in your signature, probably is the same thing I'm trying to say, but synthesis is definitively not my best quality...
When I was young and was studying in Conservatory the top phrase was "everything not classic isn't music". When I approach the world of pop music the phrase was "Classic music isn't rhytmical" (say it to Bach, Beethoven or Stravinsky...). I have piano and harpsichord diploma, I played a lot by myself and in conjunction with other instruments, and in my experience as arranger I know very well the acoustic impact of a drum or a saxophone in a near field.
I can't make sentencens for other's ear, I'll never listen music on a Dynaudio system (I had them and quickly resell), but I can't (and I don't want) to convince Bill to hear music with a Lowther. I experimented Supravox, Altec 755, Fostex, Audio Nirvana... they simply aren't my food.
Lowther is a collection of defects, but they bring the most remembering reality of an instrument's voice, for me, even if I know that I have to work a lot on them to smooth this defects. It's a hard concept, I don't know how to explain it, I know that there are better sounding speakers, but I'm not in search of a nice sound, I'm in search of something that can tickle my earing memories, giving me the best approximation to them.
Never heard a horn load I was pelased with, when I try to detect the chromatic passages in the bass and middle bass region I hear a lot of confusion, I don't want "more" or "less" bass in a speaker, I want to distinguish easily a F#-1 from a G-1, as is in the real life.
Sincerely I don't go back with a multi way system, I remember well years of work passed triyng to understand what a pair of NS10 was attempting to say to me, most of the time the result was only a strong headache.
But I know, these are my ears, I can be completely wrong for other freind's ear, the only thing that I can say is that when a lot of audiophile people (friends or not, passionate or commercial) listen at my main system they like it a lot, and all make the same fun thing: move their eyes in every direction captured by the spatial focalization of the various acoustic source created by my system (if the recording is good, obvoiusly, nothing can be done with the inexplicabile tendency to put averything that is renaissance music in a infinite tunnel...).
Please don't be angry and let me try to tame my beasts...
...and have a nice time with music you all!!
uh, and, Bigun, great phrase in your signature, probably is the same thing I'm trying to say, but synthesis is definitively not my best quality...
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