You clearly missed out on the EQ sarcasm - I don’t use EQ on the ATC’s and prefer not to on any speaker. And no thanks to Dutch 8C. Fine speaker with excellent LF control. Problematic low crossover to the tweeter and lazy HF representation. It doesn’t even come close to the resolution of the ATC Mid dome + tweeter. Even the distributor had to agree - that says it all.
I would never connect the so called 'better tools' (ie never studio monitors) with craftsmanship (skills and knowledge of a person behind the controls)
Keith, the 19 is derived from the 20SL unless I'm mistaken. Unlike the original 20 which was fairly flat I believe (bass nosedived below 80 - 100hz though I recall), the SL mod to the driver lifted the upper mid into the shape we see in the 19V1 annihilation here. The thing is it seems (by the NS10 pdf online), most smaller monitors were balanced that way twenty odd years ago and I suspect they were aimed at a 'tamed NS10' balance rather than truly flat. My 2000 era 20ASL Pro's had a bass-lift control which I set two notches up for best subjective balance. Sadly - and this has jaundiced me perhaps wrongly as regards the small active wonder-boxes with bass to 40hz or so - I didn't like the 'quality' of the bass, finding it one-note and 'thumpy' which is why I love more effortless larger boxes so much (not sure I can get this out
Obviously they can’t do speech!P.S. I loved the Kii Three's on their own when I heard them, but how good are they on speech alone? the sound balance was clean, very clear but perhaps just a touch too 'Hifi' to be true? although the highs were actually 'sweet toned' which dispelled any preconceptions on Class D amps.
Lord I miss working with speakers like this
I have no interest in your view on my knowledge or listening abillity
You have made nothing but endless accusations, about designs you have never heard, seen or measured. It is of complete irrelevance, and you are just another drinking the coolaid of modern manufacturers, who worship a new set of compromises. There is nothing wrong with either or, the implementation and design goals are different, but all these pseudo-scientific rants about how serious legacy manufacturers have been “left in the dust” by DSP is just laughable, since we are talking about moving air and not fairy-dust.
Dear Keith. With all due respect, you have never heard a speaker-room integration like this, you wouldn’t know how it sounds. And obviously does not know what soffit mount does to the LF of a speaker like the 110, to claim what you claim here. And obviously that sort of integration can never be done with a pair of “modern” DSP wonders - they are designed with a different implementation in mind, and it would suite you to acknowledge these different designs and what they can and can’t do. This is discussion has obviously turned to a sales pitch. I am out, have fun with your DSP’s
Are you really serious?
Wow, you don’t even understand the principle and design. This discussion really is useless then. I hope you find a way to hear one of his rooms one day.
Yes, there's no doubt that home consumers are very well served these days. I agree there's a great choice of excellent options right now. But - if you personally had to succeed with a difficult project that would feed your family for the next six months, you would opt for "a complete, from the ground up, specifically engineered/designed studio room construction". Anything else is bringing a butter knife to a gunfight.
Keith. Northwards design is to achieve complete decoupling from the front wall and room, wall material has nothing to say, as long as it is free from resonance. The design has nothing to do with “glass-baffles in free space” The speakers are mounted into a foam ligned cabinet, and attached to these cabinets are industrial springs with sub 5-hz self-resonance, which are mounted to floor and ceiling with steel rods. The speakers do not touch the frontwall at all, they are completely free floating (with mm tolerance) and decoupled - and are effectively free from all problems related to backwall cancellation and diffraction, playing only into half-space acoustic environment, also gaining about 6db of LF gain. That is why you don’t find the LF boost filter on the amps, because that is to compensate for free floating install, where this gain is not achieved. Maybe that is not what you learned about soffit mounting, but it is however how any cutting-edge modern installation is done. This is to create as close to a freespace environment as possible from where the speaker radiates, and the rest of the room is then left to be treated for room modes and optimizing response throughout the room. Hence the Front To Back design. If you really want to question the validity of the best studio design acoustician atm, then I don’t really know what else to say.
Regardless of this arguement aside, I just wonders, when a pair of speakers are having a specifically designed room for it, by the engineer who knows the speaker going to be installed well, treat with geometry, absorbtion, diffraction etc. IMO any half decent speakers in the mixing (MLP) will sound fantastic, where no speaker in a home environment where a hell lot more compromises are present. but when that's the thing to compare, then it's like comparing a complete package to a single component. IF hearing such a Northwards room is so important, than why can you say it's the best in the world (sorry if I exagerrated) when other studio builders did world class studios using Genelec, Neumann, PMC etc. to build.
