Abbey Road!Unless the studio uses B&W haha
Abbey Road!Unless the studio uses B&W haha
Yeha but if they cost $64K now...imagine how much they would cost if they applied your suggestions
Sure, a premium look drives a premium price. These could look better than the whole Wilson line, sound 10x better, and cost the same.Okay +$10k to domesticate it for the audiophiles. Actually yeah why not just double the price for wood trim. Like some of these cars +5000 for wood trim. +$10000 for carbon fiber. +$10000 for leather dash. Etc
None of that makes it sound better or drive better.
Totally - it's all on-brand for them. It's just an interesting thought as to what else they could look like.Given that even their home speakers,G,F and Signature series are no much different than the small nearfields (F series subs are strange ) I don't think they have any beautifying intentions.
You get it for what it is (not me,new ones are hot high,not as the older gentle ones)
Absolutely.Totally - it's all on-brand for them. It's just an interesting thought as to what else they could look like.
Maybe this is my way to break into the high-end audio scene without actually being a good speaker designer or selling snake oil.
Realistically most performance of a speaker, in terms of the physical shape, only depends on the position of the drivers/ports, the size/shape of the front baffle (including waveguide), and enclosed volume. This is leaving aside diffraction from sides or internal brancing, but you get the idea. AFAIK you can be pretty creative as long as you follow those constraints.
So to that end, you could design a prettier housing that fits those constraints (the waveguide can be copied with a 3D scanner, no problem), 3D print it, put a nice finish on it, take apart the original and re-fit the parts, and re-sell it for... I dunno, however much you want. Anybody that wants to go this high-end and also cares about looks that much is probably spending sports car money.
Hmm... I have a 3D printer, anyway...
I appreciate the fact that you're willing to be banned because of me .
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I'm reliably informed they were placed there... I suspect the sound engineers there are well used to their oddities by now and can work with it, or they eq the hell out of them (I don't know).Abbey Road!
What's that? You mean warm and soggy? That's fifty years ago, half a bloody century ago now. Even trad makers like Spendor and Harbeth boxes are very different sounding now from their 70's to 80's models and are hobbled mainly by their passive crossovers (I eagerly await the 'D' series from Harbeth next year sometime which promise to drag their valve-n-vinyl far eastern owner-base into the twenty first century) and in ASR terms, their directivity which the BBC once put emphasis on as much as the tech then could, but which has been played down.I assume that British people tend to like the "British sound..."
No offense meantWhat's that? You mean warm and soggy? That's fifty years ago, half a bloody century ago now. Even trad makers like Spendor and Harbeth boxes are very different sounding now from their 70's to 80's models and are hobbled mainly by their passive crossovers (I eagerly await the 'D' series from Harbeth next year sometime which promise to drag their valve-n-vinyl far eastern owner-base into the twenty first century) and in ASR terms, their directivity which the BBC once put emphasis on as much as the tech then could, but which has been played down.
Not sure B&W and PMC do a 'British Sound' if ever they did, Kudos speakers are anything BUT warm and cuddly in tone and KEF certainly don't today! We may have done good research in past decades, but as with everything else in this godforsaken UK, we couldn't/wouldn't invest and the ideas are being developed and used elsewhere in the world...
That's the important bit ... Here in Europe most people don't have huge houses / apartments, unfortunately. Right after I placed my Genelec speakers in a 4m x 3,6m room (only with a desk, a sideboard and a wardrobe as furniture) RT60 between 63 Hz and 16 kHz measured by GRADE was 0,6s to 1,0s, resulting in a very "muddy" stereo image. Under these circumstances GLM couldn't do much, bass was just overwhelming... Of course you cannot effectively dampen the lowest frequencies in such a small space. but with room treatment RT60 was reduced to 0,3s at 63 Hz and 0,2 at 16 kHz. Maybe some of you would call that a dead room. For me it's quite the opposite, sound has improved in every aspect.Very tough in a small room.
That’s a massive improvement.That's the important bit ... Here in Europe most people don't have huge houses / apartments, unfortunately. Right after I placed my Genelec speakers in a 4m x 3,6m room (only with a desk, a sideboard and a wardrobe as furniture) RT60 between 63 Hz and 16 kHz measured by GRADE was 0,6s to 1,0s, resulting in a very "muddy" stereo image. Under these circumstances GLM couldn't do much, bass was just overwhelming... Of course you cannot effectively dampen the lowest frequencies in such a small space. but with room treatment RT60 was reduced to 0,3s at 63 Hz and 0,2 at 16 kHz. Maybe some of you would call that a dead room. For me it's quite the opposite, sound has improved in every aspect.
Finally I can listen to this at (for me) higher volume (90 dBSPL) without the wardrobe trying to act as a passive subwoofer.![]()
yes, which is why the dutch 8c have a null sideways and do better.Very tough in a small room.
As much as I like genelec, this is fugly
What model do you have ?That's the important bit ... Here in Europe most people don't have huge houses / apartments, unfortunately. Right after I placed my Genelec speakers in a 4m x 3,6m room (only with a desk, a sideboard and a wardrobe as furniture) RT60 between 63 Hz and 16 kHz measured by GRADE was 0,6s to 1,0s, resulting in a very "muddy" stereo image. Under these circumstances GLM couldn't do much, bass was just overwhelming... Of course you cannot effectively dampen the lowest frequencies in such a small space. but with room treatment RT60 was reduced to 0,3s at 63 Hz and 0,2 at 16 kHz. Maybe some of you would call that a dead room. For me it's quite the opposite, sound has improved in every aspect.
Finally I can listen to this at (for me) higher volume (90 dBSPL) without the wardrobe trying to act as a passive subwoofer.![]()
When the reflection comes in the first 10ms the brain adds it to the main signal and it colours the sound. 10ms that's 3,3m extra path what you need for your reflection (e.g. 2,5m direct path from speaker to ear, reflection needs to travel 5,8m or more)i think the points made by those who favor first reflections is that, in addition to being similar in tone, they are delayed by a certain minimum amount. that is posited as allowing the brain to sort them out as indirect. perhaps the time delay interval is precisely that amount of time the brain needs to process what is going on.
Depends if you want natural soundstage or exaggerated. If you want a true to the source reproduction or just some nice listening to music.Some here feel first reflections should be damped, some (Toole and maybe Amir included, I think) feel it’s not necessary and is maybe detrimental to the stereo experience. One caveat, the speakers need to have good off/axis performance, as in even dispersion and a similar tonality to the on-axis response. Speakers with poor off-axis performance absolutely need reflections damped for best experience.
You always have reflections in a room!Will there be a subjective difference between absorbed reflections and no reflections?
A lot of studios put main monitors into the corner (mounted on a baffle wall) so that sound cannot possibly reflect off the side walls (with less than 45 degree dispersion speakers). That's also what B&O goes for with their narrow mode and constant directivity.