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Lone Mountain Audio

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  1. Agreed. ATC crosses over at 3800Hz as well, so we are well familiar with this idea. A 3 dB boost at some frequency would eb heard to hear, but an entire band being down 3dB is audibly quite significant (to us). People's idea about what is "louder" or "softer" is often different to what we think and measure with our Audio Precision 515x. Brad
  2. Sorry Bluesman, I missed that post and said the same thing you did. Forgive me! I agree tweeters are so small and delicate they usually either work or are dead- I've not seen them reduce level and stay consistent response wise. I am with you, it is likely midrange crossover or some unusual failure. Brad
  3. If you are speaking of a biamp or triamp speaker input panels, many of these are not direct inputs to the tweeter. They are usually inputs to the passive network and a HF section of a network still outputs something to the midrange; a passive biamp network is not a brick wall protecting the tweeter. Plus there are many parts prior to the tweeter so if the network is bad (has bad parts) then you might think its the tweeter when its really the network. The only failsafe way to check is to physically disconnect and switch the tweeter between right and left. Brad
  4. Another simple test is to swap tweeters from right to left/left to right. Does the loss follow tweeters or stay the same with the crossovers? That narrows it down fast. Brad
  5. Yes, you would need to maintain channel consistency but I would also imagine you need crossover adjustments, as the "new" tweeters would most likely not be the same identical sensitivity off the old ones. Even a very small difference in sensitivity would be audible as more sensitivity means brighter if its a tweeter or darker if's lower sensitivity. And its not the Tweeter's fault or the factory's as no production method offers precision in "adjusting" driver sensitivity without changing something else. So it is what it is and the adjustments happen through crossover parts. It is important to account for this as the smallest change in sensitivity will make the entire driver band louder (the whole speaker sounds brighter in the case of a tweeter) or "darker" (less top end across the entire tweeter band). This is MUCH more obvious than a small change in EQ. I know this to be true as my company just went though all these issues in upgrading some later model ATC's to a new in house ATC built tweeter (replacing an externally supplied OEM one). It thew me for a loop in how much change a 1/4 dB difference in sensitivity can make when I know a 1/4dB boost in EQ is almost impossible to hear. SO it's not just tweeters, you must account for the change in driver sensitivity. Brad
  6. DIfferent frequency produces different port noises. It could be a vibration issue of something else, but I would guess its not the screen. Maybe? Brad
  7. I don't think chains work unless you are dealing with a lot of mass; chains have a resonance too! I think isolating pucks of some sort is the better plan. My favorite is the RAB Audio versions here: https://www.sweetwater.com/store/detail/ProJax40--rab-audio-projax-px40-studio-monitor-isolation-kit-8-pieces They also make them for heavier monitors. Brad
  8. The basic trade off of driver design trading low frequency output vs efficiency says that if you found such a super efficient 1.7w power-able speaker, it would have a distinct lack of low end. If you insist on trying this out, I'd be looking for a fully horn speaker, (a Klipsch?) as my first stop. A Klipsch LaScala? Brad
  9. I have zero doubt that sort of expertise exists, but I don't know how to find it, unfortunately. You are right about the hearing loss. The speakers still sound listenable. The concern at this point is about the effects on the imaging. Maybe I should just spend some time rearranging placement so that the balance issues are minimized. Boy I understand that! I have a n old pair of Dahlquist DQM 909 with Magnat drivers. One speaker has a mid not working right, and needs to be replaced. Where on earth would one go to find these drivers that no longer exist, with a manufacturer that no longer exists? Working in the industry, drivers go obsolete all the time. I know some folks who own older ProAc Studio 100s and the woofers are no longer available. There is no solution. You want to know that person out there who is sitting on a few spare parts, that must exist, but how would you find them? Brad
  10. Barrows Very well said and a very accurate post! Brad
  11. I'm in that business and I can tell you a tiny fraction of engineers fuss over cables. The studio infrastructure is not something that's easy to "fix" as its all built in to the room, the floor etc. There are literally miles of wire built in to the floor from the console/control room to a patch bay, from the patch bay to the multiple track rooms and back again. Adding 10 feet of something good to 250 feet of industrial wire is almost impossible to hear- I know I've tried it (at Electric Lady, East West and Blackbird and quite a few other well known rooms). Replacing the entire mic cable with something good is easy to hear but the studio could never afford to replace existing wire with expensive wire. Studios don't make much money anymore since the advent of the 99 Cent Apple song. Clients generally come in because "the room sounds good" or it feels like a "creative space" to work in. They may need a big console for a lot of tracks at once (recording orchestra, Drum tracking, large ensembles, choir etc) so that gets them into a studio. If you record in the field, there is less infrastructure and its easier to use this nice wire and then many do. Michel Bishop, the guy that's probably won more high resolution grammies than anyone (used to work for Telarc and now works with a few other partners), DOES fuss over cables and such. He records mostly in the field, and brings all his own stuff. He uses MIT if I recall, ATC monitors, DSD recorders, a relatively small number of Ribbon mics, few condensers. If you listen to his recordings they are truly stunning. Hiromi is a good example of his work. This is where "better" wire does have a significant impact. Brad
  12. I hope to do a demo at NAMM in January in Anaheim of ATMOS music on our ATC Pro side. Brad
  13. I don't think that you will achieve anything by that. What you are describing is called port chuffing, and it's usually a design issue, inherent in the product. Becoming worse with level is letting you know you have exceeded the SPL output capability of the sub. Brad
  14. I think Ralf 11 has the definitive post on this, he described the issues perfectly. I have this exact layout in my own new house. I did flip it around and it made a significant difference. That little corner will change the right speaker no matter what. You have edge diffraction, a nearby first reflection point and you are close to corner. In my case it actually shifted the image and altered the apparent SPL on right vs left. With fixes, like absorption, it was impossible to replicate the same absorption on the left side without it looking weird. So even with a fix on the right side the image was always slightly unbalanced and I ended up with left and right at different levels. Very annoying. Flipping it enabled me to work with a symmetrical set up and helped a lot. No longer different SPL L vs R , I was able to put the absorption behind both speakers and get nice balance. It was also easier with placement of the subs, as i could slide them back and forth to figure out the best position. Get some 12 gauge and use the extra wire to go up and over. If I really want it to image best, I can pull them out from the wall like you did on position B and then it sounds quite nice. Brad
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