Przem's Phase Linear 700 Series II White Oak Conversion

He's fix in to get an education now. Unless he's been in that game for awhile he's gonna get his ass handed to him.
 
P.L.F. said:
Lee, don't worry. My friend found the name for restoration projects that may take more time but by definition giving you a lot of fun - 'Slow HiFi'. Something like 'slow food' which becomes a fashion these days... So, take it easy!

By the way, what is the problem - your driving license had expired? Why do they come to your house? Or I didn't get you...
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My company has 31 employees, 12 are commercial drivrers and therefore subject to federal hiway admin rules. And a lot of these rules require a piece of paper to prove you are following these rules...
 
P.L.F. said:
Apparently they must be...:mrgreen::

[...]
Why Horns?
By Dr. Bruce Edgar
Edgarhorns

I remember hearing a very good horn loudspeaker for the first time in 1978. It was sheer magic to my ears. I could not believe the incredibly realistic sound that seemed to radiate effortlessly into the room. But when I talk to other audiophiles about horns, the reaction I hear is usually one of disgust. Like a bad hair day, everyone seems to have had a "bad horn" day.

Rich Weiner of "Bound for Sound" recently described his "bad horn" day. "As a neophyte audiophile, I once had the horrifying experience of listening to a friend's horn-based speaker system. "Killer equipment. You've never heard anything like it," he promised. Indeed I hadn't. I found myself sitting about six feet from a pair of Klipsch corner horns driven by Phase Linear 700 amps. My friend was right. I have never heard anything like it, although I understand that standing directly behind a 747 during takeoff is quite similar. Since that time I have avoided horn speakers."
[...]

(Bound for Sound '99CES Report)
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Przem, nothing about my K's are stock. The most radical improvement was the "Universal" crossovers designed by Al Klappenberger, he's a filter genius, you can see his stuff at alkeng.com....
 
P.L.F. said:
Very interesting article by Rod Elliott (ESP) on Public Address Systems for Music Applications -> http://sound.westhost.com/articles/pa.htm


[…]
Almost all large concerts now are using line arrays for the PA system. These have become very popular, and even very small ones are available for smaller venues. While I know that many people will disagree, I consider the line array to be an unmitigated disaster in most cases. Those that I've heard all sound (often radically) different from each other, but they all share one thing - they generally sound bloody awful. Coupled with bizarre thinking about how they should be set up in the first place, the only ones I've heard so far that sounded even passable were in relatively small clusters (4 per side), and were situated high above the stage area. Contrast this with the glowing comments you may see elsewhere - a lot of people think that the line array is the best thing since sliced bread, and will wax lyrical about how they have solved all PA problems.

[…]
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I'll pretend I never read this bit…...
 
P.L.F. said:
Quite controversial, I agree... I've heard perfectly well sounded arrays during Aussi Pink Floyd, Skunk Anansie or Seal concerts. To me headroom is the key on large venues...
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The key to his credibility of that reviewer reverts to this one parting statement he makes, and I quote:

"I've not had the opportunity to mix a live band through a line array, but I suspect that it would be possible to get a good sound from an average size array."

…. and ironically enough, it contradicts everything he said in his previous rant.

He can throw as many facts and figures, and quote as many formulas as he wants. It all goes out the window once you're the man behind the desk….
 
Now, I'm a horn guy, but the Nexo's I've head at the last 2 concerts have been nothing short of amazing....
 
laatsch55 said:
Now, I'm a horn guy, but the Nexo's I've head at the last 2 concerts have been nothing short of amazing....
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Absolutely with you there, Lee….
…. and from my limited experience, I'm at a loss how the Nexo get it so right, in fidelity, coverage/dispersion, and maintain uniform SPL's wherever you are in the very generously covered listening field.
 
Well said. We've come a long way in 40 years...but they couldn't pull it off without MASSIVE AMOUNTS OF POWER!!
 
laatsch55 said:
Well said. We've come a long way in 40 years...but they couldn't pull it off without MASSIVE AMOUNTS OF POWER!!
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100% correct Lee, and if ya got big amps, then wot else are u gonna do with 'em, but build a big system, that can utilise it.
Why should we settle for anything less, if it's out there?
…. and NOW people are realising wot headroom brings to the table, and loving it.
Except those that 'can' the whole idea, but then they are the types that 'can' anything just for the sake of it.
I grew up with horns, but I'll go out using arrays. I love either anyway. There's greatness in both. ;)
 
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The K-Horn bass bin is one of the greatest inventions of all time. Need to figure out how to integrate the two. In a home setting PWK had it right. I was showing the K's off last night and I am still amazed at the bass response. But once again my crossovers are taking a hit.
 
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laatsch55 said:
The K-Horn bass bin is one of the greatest inventions of all time. Need to figure out how to integrate the two. In a home setting PWK had it right. I was showing the K's off last night and I am still amazed at the bass response. But once again my crossovers are taking a hit.
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The time may come eventually when you could give bi-amping with a WOPL'ed 700 and a 400, and an Active X-o a go.
It's a thought....
 
I have a Pioneer D-23 x-over and am considering it BD....
 
laatsch55 said:
I have a Pioneer D-23 x-over and am considering it BD....
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You'll love it Lee. I just know you would.
Tread gently 'till you get the hang of the 'different' sound, and find the most suitable x-o point, then you'll be kicking yourself for not having done it sooner.
 
bobbysdad said:
The time may come eventually when you could give bi-amping with a WOPL'ed 700 and a 400, and an Active X-o a go.
It's a thought....
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JUST DOOOOOO IT!!!!!!
Seriously, Lee. I have my DQ-10's biamped with two WOPL 1000's and I'm never looking back. You'll be amazed at the way the mids and highs bloom when they have their own amplifier. And the bottom end will be so clean. Let the electronic crossover do its thing and quit frying your passive crossovers.
 
Like BD says, you'll have so much more control. And think of all the wasted power that you're using to cook your crossovers now. That's the reason the Dahlquist DQ-10s are so power hungry, is that 5 way crossover. So with the bi-amp setup, I don't send tons of low bass signal to the mains, it goes to the second WOPL. Less waste, more music. And you tune the crossover point and amplitude in real time. It's a win-win.
 
Absolutely "ALL OF THE ABOVE" Lee....
Dave's hit the nail right on the head, and has described it perfectly. (nice one Dave...)
 
P.L.F. said:
Does it mean you simply skip passive x-overs in speakers (I assume there two separate in each channel: HF & LF) having plugged the electronic x-over before the two amps? And what if you leave them? Would they be 'transparent' so to speak, i.e. LF passive x-over will get only LF anyway? Something to do with bad phase shifting or time alingment?

P.S.
I've just started to read this website on the topic (http://education.lenardaudio.com/en/06_x-over.html)
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u must physically disconnect the woofers from the passive x-o's in the boxes, and feed them independently from a separate bandpassed stereo power amp.
(read Dave's posts #329 and #330 again.)
if u can stop the bass from going into your boxes passive x-o's, (which u'll still need if u have a 3-way so has to split the remaining mids from the highs), then u will decrease the amount of power running thru the x-o's drastically, which saves 'em from burning out.
 
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