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LRADIKAL posted:What do I need to replicate the sound of a band rocking with a really powerful PA system that's all nice and balanced in my living room? Like, so I need to wear earplugs and it's still bad for me but it's not super distorted? You can buy an actual PA by one of the top two providers in the world, but “aimed at the home” https://l-acoustics-creations.com/sound-systems/
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Oct 9, 2021 09:12
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Mostly AC, there’s always going to be a tiny bit of DC present. But the “large air gap” is relative to voltage, so in signal cables you’re good with pretty much the normal manufacturing tolerances. For speaker cables, same again if the cable cross sectional surface area itself is reasonable for the application. There are far more audible and objectionable distortions in most loudspeakers than any small noise picked up by the speaker cables in the vast majority of installations anyway. It’s still a good idea not to run all of your signal or speaker cables right alongside the mains power ones even if they’re balanced, but a few inches is typically sufficient. All that said, I hope that commenter goes on to launch their own snake oil cable company and becomes very rich and revered.
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Nov 20, 2021 18:25
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Ok Comboomer posted:I’m still looking for goons to start my audiophile ‘solar power + storage’ company with I have a friend who works in hydrogen fuel cell manufacturing, and another who deploys large scale solar field arrays. Let’s talk.
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Nov 20, 2021 18:40
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polyester concept posted:There is probably a lot of opportunity in buying up a bunch of obscure computer hardware components, then talking them up on various audiophile forums while making overpriced listings on ebay Apparently you just have to hot glue some gold capacitors on the board.
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Dec 2, 2021 22:11
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If you spent less than $200 on the fuse for each piece of equipment in your signal chain, you’re a Luddite: https://forum.audiogon.com/discussions/the-new-synergistic-research-purple-fuses The real gold begins a dozen posts in.
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Dec 9, 2021 00:47
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So I looked up the patents assigned to Mr Denney. The one for fuses was cancelled, with a sick burn from the patent office: However he did manage to patent this: https://patents.google.com/patent/AU2016352913A1/en
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Dec 9, 2021 23:11
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AlexDeGruven posted:without quality checking. This is a horrendous falsehood. The patent officers used the most accurate quality measuring devices in the world - their ears.
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Dec 10, 2021 19:57
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Mr. Mercury posted:What the gently caress even was that for It appears to be a crude representation of a wavelet analysis, which is frequency versus amplitude versus time. In theory, a perfect representation of an impulse would be a straight vertical red line down the middle of a ‘cone’ with the apex at the top. This Christmas coloured fire by some photoshop ‘artist’ is meant to illustrate poor acoustic or filter design on a speaker which creates problems like lobes or ringing artefacts. Mackie were claiming these are magically fixed using an FIR filter, and we get the joy of seeing the subjective explanations for the improvements.
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Feb 24, 2022 10:18
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Olympic Mathlete posted:Hi, I know little about this subject but am glad to see you're still about. What has the covid situation done to business for you up until this point? About £2mil lost over two years, rescued by having half decent accounts and getting some money off the government. We should be fine, but only just.
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Feb 25, 2022 00:47
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Mister Speaker posted:I'm curious about this too, now that you mention it. I wonder exactly what 'electrical requirements' were so prohibitive that they couldn't bring it over. It’s more likely to be Dillinja’s VALVE System:  If it’s not been sold, then it’s been sat in storage forever but was made up of a full 40ft truck’s worth of Funktion One Res5 mains over 18” scoops and dual 15” band pass horn kick boxes from the Reflekta series by Tony Rossell of Acoustic Sound Systems (yes, rear end). He also built many of the cabinets for Turbosound and Martin Audio in the 1970s and 80s. It was driven by XTA processing (also British) and a few metric tons of Crown VZ amplifiers. Those are American, but the UK versions were fixed to 230V AC mains voltage - something that is annoyingly uncommon in the sorts of venues that would host a massive drum and bass rave, even today. That said, it was likely a handy excuse that was ‘cooler’ than the cost and time of six weeks at sea for transit either side of the show(s), carnet (pre-paid tax on the system’s total market value when new just in case you don’t bring it back), plus inter-state trucking, insurance, storage and working visas for the crew and performers. You can read about the rig, the shows using it, and the history of classic drum and bass music in the awesome Renegade Snares book. As fun as VALVE was at the time, you’ll get a similar experience from a wall of PK or Danley BC subs run at full chat on that side of the pond. Sinai’s subs pre-2021 were also a type of 18” scoop - technically a transmission line and rear loaded horn hybrid - designed and licensed to them by a friend of mine from Helsinki. I actually introduced those guys, many moons ago. The sound world is much smaller than you might think. Especially among folk who used to do daft things such as deploying 24 subwoofers for a stage that holds less than 800 people, between 10 foot thick walls of an abandoned fort… 
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Mar 29, 2022 00:16
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Mister Speaker posted:Wow that's awesome! That was my Void rig; the first of their Incubus systems ever sold and using DSP designed by myself. Good ear though - it was being pushed hard into the limits! In all previous years that stage had six more 21” subs across the centre, front fills, and hangs in towers for the people at the back. Budgets were cut drastically in 2019 though, and the promoters were very much out of favours… I don’t think system did do too badly, given that there were just four subs and a pair of mains for an audience area of 20m x 80m, but sadly you missed the heyday of the festival. I handled the audio system design for 5 or 6 stages at both the Outlook & Dimensions events at the fort from 2011 onward, plus we provided the entire DJ backline of some 60 CDJs and equal numbers of 1210 vinyl decks. Fun times at gross volumes, with beta tests and new toys every year. I almost had an EU debut for PK lined up in that final show, but the budgets just weren’t anywhere close to working out even as a promotional deal. The complete custom silver Void system - that was good enough for that stage to be renamed after it - now resides in Oregon. Had to sell it on due to the COVID hit. I’m fairly sure I’ve met a few of the 40Hz guys over the years out there. Certainly hung out with Distinct Motive a bunch, and I’ve been aware of their work for a long time. A good buddy of mine moved over from Toronto pre-pandemic, partly due to the music scene here in the UK. Anyway, enough about fun noisy parties in the sunshine and back to audio quackery. On that note, those subs actually had carbon fibre cones in them originally - an expensive novelty back in 2013. I suppose I have to give credit to the siting of a festival on dusty shingle; free, near limitless Magic Pebbles around every amp and cable run. taqueso posted:Content under 20hz is awesome and more music should include infrasound. It is more common in albums than it used to be, and in most modern movies as sfx. You can feel it, it's not audiophile bs. My theater system had output to about 12hz and some albums were incredible on it, thinking of three love songs by ricky eat acid in particular You don’t even need to explicitly boost the infrasound content in music for the benefit to be audible. A long and thorough research project by the engineer for the Prodigy found that by simply using a subwoofer setup that plays one octave lower than the typical 30Hz -3dB target, listeners set their preferred playback level up to 3dB lower for the same perceived output. For both volume and quality metrics. The onset of Whole Body Vibration also occurs quite quickly at those frequencies, and that leads to the ‘rock and roll high’. Which is fun and awesome, but can cause temporary cognitive impairment for several days, or longer term health problems, as NASA found in the 60s and 70s. Some fun charts from a recent (paywalled) research paper on body response from concert subwoofer output:    https://www.aes.org/e-lib/browse.cfm?elib=20383 Hit 94 dBZ (linear scale) or greater at 20Hz and the fun begins. It doesn’t really start until 107dBZ though. Which is why I have four of these: https://www.danleysoundlabs.com/products/th221/ Now I just need a house I can fit them into. Neurophonic fucked around with this message at 02:33 on Mar 29, 2022 |
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Mar 29, 2022 02:29
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Adolf Glitter posted:Holy poo poo, that's cool as gently caress. I know it quite well. Heard it first at the debut gig since it was on my doorstep at the time. Fun night out, but I wasn’t that impressed. Decent components but pretty much all off the shelf, and shoved into simple boxes. No expense spared on the front end, of course, but I’ve heard many other systems of a similar style that did it much better. There’s some ‘art’ to the circular array of dance stacks, which only a few seem to put into effect. David Mancuso was a pioneer there, especially with the attempts at physical decorrelation - it’s about making a ‘sound field’ rather than any sense of exacting accuracy. The argument is that you end up with a different sound every few feet. It encourages movement, mingling, and allows folk to choose their own ‘sweet spot’. The Despacio setup had to add some powered 21”Yorkville subs last minute due to the dual 15” cabs they’d asked for not playing low nor loud enough for the intended application . My carpenter friend also built the stacks from the literal ‘back of a cigarette packet’ doodles that he got sent, including the cool but awkward as poo poo ‘bird box’ that went on top. That thing was a nightmare to get up on the fragile metal racks that the amps went into. Even more so when I helped set it up at Glastonbury’s Dance Village a year later. Don’t even get me started on the extra weight due to the ‘flight cases’ they had made up after realising how easy it is to scratch lacquered bare wood cabinets in a truck. Putting the 20 ft diameter mirror ball up was even more fun. The thing to remember is most of this sort of setup is about the relatively unique experience. If you had it available every week, then it’d be less enjoyable. It’s only grumpy nerds like myself that really pick holes in it, and I’ll fully admit I had good times dancing there. Unfortunately my photo archive doesn’t seem to stretch back that far, but let’s just say that someone was assigned to keep the health & safety officer for the area occupied while we got the job done… I’m curious where it lives now. Would be nice to see it out again, and perhaps even have a go at — shock horror — attempting to improve some of the polar response issues with DSP. I designed a ‘surround’ DJ stage system of a similar vein but on a slightly larger scale a few years back. It’s one of my favourites, even if I’m slightly biased:   Second shot is from a crane above the giant head that marks the stage end. About 5000 folk in a 50m x 50m area, a fairly well hidden ‘six point’ Danley system with balcony fills and just 9 subwoofers. It gets plenty loud enough for a good time.  Don’t want to overshare more than I already am, but I can upload a few half decent quality videos of this system playing tunes during the build and then again mid-show if anyone is interested. Neurophonic fucked around with this message at 00:21 on Apr 21, 2022 |
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Apr 21, 2022 00:18
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tater_salad posted:Do you use gold centered oegone to balance the inverse kinsces effect causes by drink patrons flattening the aural wave strands which impacts the brightness? No, but that stage was blessed by a real Native American in an authentic ceremony before the doors opened. I wish I was kidding. Apparently I can’t upload videos to YouTube from my phone anymore, but I’ll stick them up when I get back to my PC.
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Apr 21, 2022 22:30
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large hands posted:Read some people going crazy over room correction in this thread and elsewhere and I'm very curious to give it a try. Is there a way to do it without throwing hundreds of dollars at it or do you have to buy hardware first? I have a Yamaha AS-801 driving a pair of Wharfedale lintons, sources are a computer plugged into the 801 through USB using amps built-in DAC, and a turntable plugged into the phono input with an RCA cable. You can do the most advanced ‘correction’ you’d ever want using EqualizerAPO on Windows, plus REW to make measurements and rePhase to generate (magnitude only) correction filters. You want to research the ‘moving mic technique’ or use a magnitude-only average of the response measured at >9 positions across your total listening area to get a reasonable input pre-distortion filter. Don’t be fooled by the ‘magic’ linear phase methods unless you’re planning to keep your head locked in a vice. Movements of even a few centimetres will screw up the lovely flat trace you synthesise. This isn’t a replacement for treating a room to have a steadily-decaying diffuse reflective field though. Sorry it took me a while to upload these. Hopefully YT hasn’t mangled it too much, or removed the copyrighted tunes: https://youtu.be/QvrFjWNSKDg https://youtu.be/jvGoRKX5_Hg Good headphones recommended. You can hear the kick drum time alignment drifting out as I reach the extremes of the coverage area.
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Apr 23, 2022 18:10
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KozmoNaut posted:So realistically 50Hz-20KHz, got it. It’s stated as -3dB at 31Hz, -6dB at 26Hz, which fits with the displacement available from the four woofers and the overall cabinet volume. It’s ported at the bottom, which adds a boundary loading effect. I don’t see any reason to doubt the specs in this case. I think it’s very interesting. You’re essentially getting a more refined version of the LS50 Meta with a pair of extended range KC62 subs in a Blade style arrangement. That’s per side. By that metric, the price of £6k a pair is pretty good - the separate smaller boxes to get the same driver count would come to £7.1k. The slim column arrangement should give excellent cabinet edge diffraction behaviour in the horizontal pattern while being large enough in the vertical to push anomalies out of band for most of the mid and high frequency content coming from the frontal driver. There’s also no reason the electronics should be a concern in the future. It’s just a class AB and class D amp module in each cabinet, with a front-end DSP. There are analogue inputs, so even if all of the streaming stuff dies in the next decade, I don’t see why they shouldn’t be functional. KEF’s recent output has been very well engineered and the company has a good design ethos with their ‘reasonable priced’ stuff. A friend got a chance to audition a prototype pair of the LS60 recently and said they’re competing with products costing four to five times as much. He’s no audiophile subjectivist idiot either.
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May 14, 2022 16:27
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KozmoNaut posted:Yeah, no. What makes you think it’s overpriced? A pair of LS50 Meta are £1100, that is not cheap but also is not insanely expensive. Please don’t tell me you’re someone who only checks the component value & doesn’t account for the costs of actually doing proper R&D. Especially considering that the majority of salaries in audio engineering are quite low compared to other engineering disciplines. If you assume there are 5 people in the product development division with a salary range of £30-70k per annum. They need three seats of MATLAB, COMSOL & SolidWorks, which is a fixed cost of approximately £35k each including a decent workstation to run the stuff. Add in a reasonably sized hemi-anechoic chamber or two for testing components and cabinets, a Klippel QC system, microphones and the like at £250k+ setup cost. We probably want a demo or auditioning room for subjective assessment, some workbenches, CNC plus ongoing premises outgoings like rent, electricity and so on. We haven’t even touched the software or manufacture side of the business. You don’t have to do it this way, of course. I am fully aware that you can get some truly excellent speakers for <£1000 a box, but those folk are often using off-the-shelf components and contractors for the design work, or able to use the economies of scale & facilities due to being part of an international conglomerate group. Plus it is a business. It should make profit. Typical margins in audio products below the utterly insane stuff such as Magico & the proper ‘audiophile woo’ run from 20% to 40%, for what it’s worth. Neurophonic fucked around with this message at 16:56 on May 14, 2022 |
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May 14, 2022 16:53
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steinrokkan posted:If you assume there is a research division of 100 perfect scientists paid 2 million / year each, the 20k cost for this pair of sound enhancing rocks suddenly seems reasonable. I agree that the real problem on a set of speakers that integrate everything into the cabinet is the lack of places to add magic pebbles or special conditioning fuses.
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May 14, 2022 19:04
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Olympic Mathlete posted:That reminds me of an image I remember of some lunatic who did similar in a surround setup in this huge dark room. I'm sure at least one of you know what I'm talking about. Somebody likes the concept so much that they made it into a ready to roll product: https://l-acoustics-creations.com/sound-space/island/ My listening room is way simpler. I was considering putting up some fibreglass panels, maybe make up some diffusers… then I found this: https://www.defendershield.com/emf-protection-wallpaper A much better use of my cash. Now I can be sure that none of those government birds are interrupting my bit-perfect data streams. While I’m at it, don’t want none of that radiation hitting my junk either: https://getlambs.com/product/faraday-boxer-briefs And I’ll get a few of these to dot around the space, really finish it off: https://healingsoundexp.com/product/springlife-stainless-steel-polarizer/ quote:Springlife polarizers have been widely used around the world for over forty years. These polarizers, designed by Randy Masters, are based on sacred geometry and tuned to the background Cosmic OM wavelength measured by Bell Labs at between 7.23 cm and 7.35 cm. They are called polarizers because the proprietary blend of special minerals and Earth substances soaks up specific wavelengths of cosmic radiation and then amplifies it. When this happens, toxic substances are usually re-polarized, meaning their toxic vortex patterns are neutralized Neurophonic fucked around with this message at 05:25 on May 18, 2022 |
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May 18, 2022 05:21
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RIP Paul Walker posted:I bought a Lightning to USB converter in an attempt to hook my DAC (Topping D90) to my iPad and hoooooly poo poo it sounds bad, so it's not like lovely broken digital poo poo isn't a thing. If someone tried to sell me a non-broken audiophile method of hooking USB to an iOS device I may be inclined to give it a shot. https://www.apple.com/uk/shop/product/MK0W2ZM/A/lightning-to-usb-3-camera-adapter
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May 25, 2022 01:12
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namlosh posted:So is the entire concept of “soundstage” audioquackery? If not: There’s always some debate, but ‘soundstage’ beyond the recording itself is generally associated with perceptual acoustic metrics such as “Apparent Source Width” and “Lateral Fraction Coefficient”. Without getting too deep into the maths, these values are calculated at various frequency ranges from a combination of a loudspeaker’s own impulse response to a given input signal, and the room’s separate impulse response to the same signal. You need both an omnidirectional and a figure-8 or dummy head binaural microphone for some of them. For loudspeaker assessment this is typically qualified by the “early reflections” metric on CTA-2034 standard “Spinorama” data. It’s an indicator of how much sound from the speaker will hit the walls and ceiling in a ‘typical’ listening space, and is based on fairly extensive research and listening tests conducted over some 30 years by Floyd Toole and Sean Olive. Short summary: not all reflections are bad, so long as they generally affect all frequencies equally. We don’t generally enjoy listening in an anechoic room (trust me, I’ve done it quite a lot). A speaker with consistent frequency response at various listening angles is generally preferable to one that sounds amazing directly in front of it, but has big peaks and dips in the response when you move off to the sides or above. To generate these plots you need anechoic measurements at multiple positions around a loudspeaker. The associated AES standard calls for 5 degree resolution in a full balloon, but points may be skipped if the speaker cabinet has symmetry planes. A decent primer on loudspeaker measurements is available here: https://www.audioholics.com/loudspeaker-design/understanding-loudspeaker-measurements And for Spinorama data specifically: https://www.sausalitoaudio.com/wp-content/uploads/2018/07/Interpreting-Spinorama-Charts.pdf https://www.psaudio.com/copper/article/choosing-new-speakers-using-spinorama-part-one/ Unfortunately it takes quite a bit of practice and experience to be able to understand what most of this data actually indicates or means. A few reviewers publish this data, but it may only be generated from horizontal and vertical plane data every ten degrees. There’s a couple of German magazines, some bigger ones like Stereophole, etc. You can trust anything with Anselm Goertz in the byline, and there are two ‘independent’ guys - Erin & Amir - with a very expensive acoustic holography measurement tool called a Klippel NFS that publish their own data on either the AudioScienceReview website or Erin’s Audio Corner website. Be warned that reading the plot first - or even seeing the physical speaker or brand name - has been proven by the same guys (Toole & Olive) to massively influence the subjective assessment of a loudspeaker. Unconscious bias works both ways. There’s more to it than just this plot, of course. Issues like poor temporal alignment of each transducer, intermodulation distortion (where one cone makes another move, or a single cone starts to ripple instead of moving like a piston), and the like. If you’d like to read more about this sort of stuff, Toole’s book is a great place to start. It’s got lots of diagrams and relatively plain English explanations about all sorts of perceptual sound stuff, with lots of practical advice that should help prevent you spending obscene amounts of cash on bullshit: https://books.google.com/books/about/Sound_Reproduction.html?id=tJ0uDwAAQBAJ Obviously, there’s a bunch of folk who seriously hate this work. Common complaints are that it’s based on ‘only the majority of people’ rather than trained listeners. There are absolutely clear distinctions between trained and untrained listeners in all sorts of research data, but as ever confirmation bias also heavily exists in all sorts of folk. Neurophonic fucked around with this message at 02:32 on Jun 1, 2022 |
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Jun 1, 2022 02:27
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KillHour posted:What if we took the record and somehow zapped it inside a computer where it could be preserved as a series of 1s and 0 as for all eternity? It happens to people in bad anime all the time so surely it's possible. Would you believe that almost every record since 1980 has already been stored like this, just on different media?! It’s almost like these new ‘perfect analogue’ prints are being made from a set of ADAT tapes.
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Jul 9, 2022 21:01
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RIP Paul Walker posted:I’m probably a bad audiophile who should be ridiculed. On that note, this evening I had to work late. So why not ratchet strap an electromagnetic motor that exerts 20 kN of force to my office chair, hook it up to a 160V peak channel of Class D amplifier and run tunes through a sub harmonic synth to really get that 10-55 Hz going right through my spine?  I’ve got another 3 of these things (Powersoft Mover Inertial Drive) and plenty of amp channels to stick up them. I’m now very curious whether it’s possible to disassemble a Herman Miller Aeron through indirect vibrational force.
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Aug 4, 2022 03:04
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DoesNotCompute posted:Relative to just about any even remotely attainable metal? Beryllium is both incredibly toxic (meaning massive OSHA regs for production environments) and too brittle to shape using traditional means. The old Yamaha beryllium drivers used vapour deposition in vacuum chambers on copper forms that would be etched away. I went to an interesting presentation about brazing beryllium in nuclear reactor parts, it’s legit phd stuff as opposed to stamping a little piece of titanium into a dome. Side by side, the improvements in resonance/decay times, lower distortion and extended high frequency response between titanium and beryllium diaphragms are immediately obvious to pretty much everyone, too. In addition to the toxic and dangerous manufacturing process, they also tend to be small-run orders which further increases the cost. Still, at $5k there is plenty of profit per-unit for those Focal Utopias even when you account for R&D time. The highest-end LCD series cans from Audeze sound better anyway. Not that I’m ever likely to spend that much cash. Luckily, some modern carbon-fibre textile manufacturing methods get ~80% of Beryllium’s stiffness/Young’s modulus properties at around half the price. TeXtreme is one ready-made product, but several other loudspeaker parts manufacturers are rolling their own. If you’re paying ‘street price’ you can get a pair of poo poo-hot carbon fibre compression drivers for just over a thousand bucks. https://faitalpro.com/en/products/HF_Drivers/product_details/index.php?id=502020190 Stick those on a $60 horn such as Eighteen Sound XT1464 and you’ve got much better HF than most >$20k hifi systems. Neurophonic fucked around with this message at 16:18 on Sep 19, 2022 |
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Sep 19, 2022 16:16
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BonHair posted:How much is burning in your speakers just audiophile mumbo jumbo? Is it actually a real thing, or just 100% bullshit? There is a measurable shift in complex valued impedance and therefore Thiele-Small parameters, but in the vast majority of cases: - the differences aren’t audible in double blind testing - return to the ‘new’ state after the transducer is left unused for a period of a week or two Plus the process is typically done at the factory or occurs naturally by just using the drat product you’ve bought.
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Sep 22, 2022 19:10
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Jonny 290 posted:Might be a better question for the 2channel/vintage thread, but I'll throw out a tentative answer anyways. A third party product that does a similar job is the new Link 2: https://www.audiopro.com/en/product/link-2/ I think the older Link 1 does the same job for cheaper, but is uglier. You’d be best off checking which wireless protocols your Harmon Kardon speaker uses first, though.
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Nov 9, 2022 07:21
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Every single one of the forty-four Technics 1210s (various models) I own has made an insane amount of cash compared to what they cost to buy & repair in the first place. I think the most I paid was £230 each for a pair of brand new in box 1210 M5G, from a girl who found out her boyfriend was cheating on the eve of his birthday and just wanted rid. Our insurers class the Mk2 as a collector’s item — like a classic guitar that’s no longer made — so they’re worth more on paper than I ever spent. Although several prominent professional touring DJ acts who were previously “all vinyl all the time” moved to USB sticks over the past couple of years, there’s still enough demand for well-maintained decks that I can’t see myself selling any of them any time soon. Daft vinyl may be, but long may it continue!
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Nov 20, 2022 23:24
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olives black posted:
Doping the cone with some form of solution or coating is a common way to control the stiffness Kms & the compliance Cms as a function of excursion (X). Those are two major contributing factors to distortion components. Using CBD obviously gives mellower highs.
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May 12, 2023 20:09
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olives black posted:that's a bummer. there's a photo out there somewhere of him mixing between two CRT-connected computers running trackers, which as far as live electronic music performances go is p cool imo It could be that they hosed his rider up. Ten plus years ago his tech rider required Denon CD decks rather than the usual Pioneer because he preferred that the platter was motorised like a vinyl deck on the Denon. Nobody else used the drat things so it was always a nightmare to source when he played in the UK. One promoter bought a set from a DJ store with a generous returns policy and took them back after the weekend. I’ve had a few mad experiences with him. I remember trying to convince someone to lend an original TB303 for a Speed Dealer Moms set after him & Frusciante had burned out three units with wild control voltage stuff in rehearsals. At one festival where I’d gone to say hi, he just poured mushrooms into my hand and said “you need these” After he got into modular the sets I’ve seen have been on hardware, all through pretty well run Funktion One rigs.
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May 14, 2023 08:46
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olives black posted:I imagine that this was your friend's response Extremely accurate. Sadly the set got cancelled, which is a shame because I was genuinely curious about the collaboration. I didn’t eat the shrooms, either. The fact I can’t remember exactly what year this happened suggests they were simply not necessary.
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May 15, 2023 05:52
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qirex posted:So this thing exists: If I was a Dead head with money to burn and any passing interest in audio, I’d be giving it to this guy who’s been making small scale versions of their infamous touring PA system that are actually pretty cool: https://www.instagram.com/mini_wall_of_sound/ 
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May 17, 2023 12:17
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Sorbus posted:Genelecs. If any self-powered speakers have audible noise without any connectors physically plugged into them then they’re poorly designed. If you hear noise when connecting an upstream device to them, then you just need to set your gain structure appropriately. Going from consumer reference level kit where “zero” is -10 dBV to a studio monitor that expects professional standard reference level of +4 dBu often leads people to crank up the input sensitivity trim knobs up on the amplifier which then just massively amplifies the noise floor of the entire signal chain. https://m.youtube.com/watch?v=Acu5FLj-D_Q I see a lot of supposedly “qualified professionals” skip this really basic yet important step when configuring any audio kit, so am pretty drat certain the required gain adjustments aren’t accounted for when audiophiles compare kit.
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May 26, 2023 10:40
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qirex posted:Bose sold a couple million 30 pin iPod docks and how many of those do you think are still in service? At least two, after I repaired the connector and ribbon cable on the second old one my stepdad has and stuck a $15 Bluetooth receiver on the 30-pin connector.
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Jun 1, 2023 07:56
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