Jump to content

Lone Mountain Audio

Members
  • Content Count

    36
  • Joined

  • Last visited

About Lone Mountain Audio

  • Rank
    Freshman Member

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Anyone here running ATMOS at home? Would you listen to music in ATMOS multichannel if it were available? I've participated in demos and Immersive multichannel is about to hit the market in big way. Brad
  2. I’ve been experimenting with the new Sonos AMP and a pair of ATC scm7s. This seems to be as easy as a Sonos system to use yet sounds much better. It’s pretty good on my credenza at work. I might not use it as a reference - I’d probably sonically prefer a much larger a/b amp/preamp/ dac system- but that would be a stack of gear in my office and significantly more money. I tried an Apple Music only system before and I liked the ease of use of the Sonos . My news and sports on XM radio plus other music sources such as apple amazon pandora etc. Funny how ease of use is so important at work when you are focused on different things. brad
  3. There are monitors that have DSP hidden inside and make no mention of it. The sales engineer will know which ones. In pro, internal DSP for EQ is common now. If there is any "room correction" or "room measurement" there's DSP for sure. Brad
  4. fas42-that's like a trip to a museum! Looks like old Patricians, Altecs, Klipsch corner horns and way old multicells (the first attempt at better directivity, less narrowing). Unreal that a company like that still exists. You've surprised me! Some of those images were of product from the 40s! Brad
  5. Vita Vox is a Military equipment company- they make sound equipment for submarines and battleships! Wow! Brad
  6. I don't agree with that- it does matter. Your statement is confusing-at 100dB SPL continuous a lot of things are different but I do not know many left that work that loud. At the levels these studio guys are working (85dB or so) you can hear a LOT. I know mixers that can hear a 1/2 dB of change in EQ of one element of a mix at 85dB. Thank you Semente-I WAS referring to distortion changing at different levels would mean "a non linear system". Your post about Monitor Audio product changing performance with level is spot on and applicable to nearly everything- drivers on horns, cones, domes, ribbons. Brad www.lonemountainaudio.com www.transaudiogroup.com
  7. Well in the world I work in, you can hear a LOT of that. Comparing "the best" of the conventional speakers of the 70s vs the best of conventional speakers of today sounds like a blanket has been removed from the 70s speaker. The comparison between a Yamaha NS10, or old Advent or even a DQ10 vs today is dramatic. In truth its the distortion that's been reduced and all those different driver, crossover and phase distortions are perceived as a "masking" distortion that obscure details. I have forgotten to mention one partial horn based system that has seen some high end pro use (mastering) in the 90s and 2000's: Kinoshita. I did see a pair installed at Glenn Meadows mastering room in Nashville at Emerald. They are long gone now (10yrs+?) and the main sales outlet for them to this type of client has switched to a different brand. Brad www.lonemountainaudio.com www.transaudiogroup.com ATC importer
  8. SO much of this for consumer is truly preference and that is totally okay. I am truly not saying someone should not like them. BUT there is a lot of information not correctly presented as it relates to cone/dome systems. This has nothing to do with ATC and everything to do with old tech vs new tech. A great system with linear response should sound the same at all levels, not have any kind of volume dependent distortion other than clipping. This is a very important value in the studio and is true well beyond ATC. Horn loaded systems (something like an original Klipschorn) are not present in any studio I have ever been in LA or Nashville. To say modern cone/dome systems have more distortion as a class compared to horns is just not the case anymore. Maybe in 1970, maybe even in 1975? But with advent of speakers that addressed issues like phase (the Dahlquist DQ 10 and KEF 104) things have advanced a LOT since then. Odd order harmonic distortion in modern woofers is in the neighborhood of 30dB-45dB lower than it was in the DQ 10 days. Midrange distortion, especially in the vocal range is drastically lower as well. Dispersion is much more consistent horizontally and much less energy is wasted spraying HF all over the ceiling and floor. Electronics have improved also, active systems reduce crossover distortion (passive crossover) by a huge amount, improve on phase control (creating linear phase system), and many other much smaller issues have been engineered out to create incredible realism. Brad www.lonemountainaudio.com www.transaudiogroup.com ATC Importer to the US
  9. I checked my signature in my profile, all the info is there and has been. Why does it not show on posts? I also talked to Chris when I signed up to let him know who I was. So I have addressed this, but it appears I need to manual enter my info on each post. How many of those engineers have listened to high performance horns? Not sure, I would bet its a very very small number of them. No one is promoting an all horn based playback monitor for studio work that I am aware of. Ocean Way monitors are also out there, they have a Mid horn, but this is a rare beast. It's the speaker Alan Sides built a long time ago and still sells a few of. When he sold Ocean Way, the new owner United (LA Oceanway) bought cone/dome driver systems for the control room's meter bridge. Oceanway Nashville also bought cone/dome driver systems for the control rooms meter bridge as well. Oceanway Nashville is now owned by Belmont University as combo teaching studio/commercial studio. Brad www.lonemountainaudio.com www.transaudiogroup.com
  10. Across the breadth of "all studios" your statement is probably true, but that includes beginners buying at Guitar Center, amateurs who've got some clients but work in bedroom studios, part time and full time traveling engineers, and high end commercial rooms. Its quite similar to consumer: everyone has their own opinion about SQ or "SQ for the money" so choices made for SQ are all over the map. AS you get to higher and higher parts of the market, especially the major commercial rooms, the SQ choices narrow considerably. When you get in to the Hip Hop market, it is purely about "SQ at high SPL", usually Augsperger horn based systems. The pro ATC is low cost cabinets -flat black MDF. The consumer is obviously prettier Veneered cabs, with different packaging (towers) to fit a different need. Sonically they are not different but the veneer is quite costly. Brad www.lonemountainaudio.com www.transaudiogroup.com Importer (ATC plus others)
  11. Well I actually did that on my sign up and profile- but upon your question is completely fair. I just revisited my public profile and see its not noted in any version other readers might see. I can fix it through signature? I agree it should be clear and there is no attempt to conceal. I am actually quite interested in this subject and home audio especially. Horns, I've had a lot of experience with horns. Worked in commercial audio all through the 80s. In the 90s, national of JBL systems group (big large PA type horns) and national at JBL cinema (smaller higher fidelity horns). Since 2001 importing ATC pro and then ATC consumer began about 4-5 years ago. Now I deal with the major commercial studios and mastering rooms across the county, most of them in LA and Nashville. I am lucky as I get to talk to people who are actually making a living at making records. Yes you could say that I favor cone/dome systems but certainly not because I am ATC. I have seen the engineering, talked to the engineers in product development and have listened to a an awful lot of product over the years. I see what people use everywhere- in pro- in cinema, in movie mixing, scoring, mastering, etc. There's a lot of different brands in play in the pro industry; pro brands using horns for studio monitoring are extremely rare, except very low cost JBL monitors (7000 series used in post) or DSP based JBL monitors (M1s and M2 s used for mixing). Brad www.LoneMountainAudio.com www.TransAudioGroup.com ATC importer
  12. You mean, M2 is not a fully horn based design (meaning all transducers are horn based)? A waveguide is not necessarily a horn, but a modern horn almost always have waveguide principles involved. Brad
  13. No-not true I'm afraid. I work within the top studios throughout the country and not a single one I can think of relies on horn based monitoring for mixing other than hip hop or R+B. Horns based systems are used because they can reach very high SPL, not for low distortion. JBL M2's are in a few rooms, but mostly Dolby ATMOS rooms. George Ausperger is a very famous studio designer, now in his 80s, that did a lot of studio builds and designs in the 70s and 80s and 90s and these were all horn based. Rock Roll artists like to hear it played back loud. These systems can reach 140dB SPL. Most mixers cannot work that loud anymore. The top high resolution recordists (DSD) do not use horns (Michael Bishop for example). It's all lower SPL conventional cone/dome driver speakers, all active. Library of Congress, editing everything in media (voice, music and video) for archiving uses ATC 150 ASL as well. No horns. Brad
  14. Im not feeling that in practice Fas42. People who make the music are highly focused on low distortion and very very few of them use horns. The big horns in the wall at studios have failen quite out of fashion as well in any situation other than high SPL. Midfield conventional cone speakers are very much in vogue in professional circles, for engineers can hear the details they miss on the horn systems. Brad
  15. I sort of get your comment, but the distortion created and present within loudspeakers is so far greater than distortion created or present within modern electronics, yes? I don't think you can say that the fractionally lower distortion low power electronic designs make horn/driver transducers better than other transducers. The electronics would surely be one of the smallest contributors to the overall measurable system distortion with most transducers in modern sound systems. Are you saying more efficient designs are always lower in distortion? Brad
×
×
  • Create New...