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Lone Mountain Audio

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  1. Plus digital in is listening to another DAC permanently overlayed on the sound of the speaker. As every DAC has a sound of its own and grows obsolete with nearly every [annual or semi annual] chip development cycle, this limits a speakers's life [we can have a 10-20 year life. ATC is of the mind the DAC is better left to owner to choose to keep his speakers current across time. One of the foundations of ATC Engineering is the speakers must stay current (be upgradeable) over time if at all possible. Brad
  2. There must be something lost here in translation. As an ATC distributor, we are mostly in pro but also home, I would never say "get them close to the wall" unless i wanted you to pick something else. "Close to the wall" would increase boundary reflections, playing havoc with the image and mid/HF tone. Maybe they said rear boundary? Which wall did they suggest? Getting speakers AWAY from boundaries is normally the best plan in almost all cases. Want to hear a good demo? Go into a large room with boundaries far away. Want to hear a bad demo? Get speakers near boundaries,
  3. Elliot is a great guy and this is sort of proof of how a well experienced salesperson can save you a lot of headache and money (by avoiding bad purchases). If they use that knowledge to help you skip steps that many less informed people take, carry good brands, they can be so helpful. Not all of them are great, but Elliot/Innovative Audio has been doing this a long time and doing it well.
  4. I actually worked in a hi end hi fi store in 1975 selling Audio Research and many other high end brands. The best speakers I ever heard in there were the Dahlquist DQ10, Magneplanar Tympanis (near impossible to get right in a small room- talk about endless fiddling- but when you got it right WOW), KEF 105. (I think they were all available around the same time.] We had the NS1000 when new, I hated them. The NS1000s (actually the entire line of speakers of this era from Yamaha) were overly bright and no bass. Sort of embarrassing to turn them on as a "high end store" cause they
  5. I have some comment as I know some of the folks involved on the music side. Amazon is not driving this- Universal is. Universal wants to go back at an amazing catalog of titles and release them in higher rez and ATMOS. Amazon is just the delivery channel. That in and of itself is a fantastic development, that a company that size wants to buy higher rez music because they think we'll buy it. Tidal is lovely, but my kids have zero awareness of it without me saying "listen to this". They are already using Amazon or Apple or Spotify- these are sources they know and as more and more big music
  6. Most dialogue never varies from a "center only" position when it comes to movies. They have been adding sound effects to center more and more (explosions etc), and sometimes even music, but Id say that's the exception to the rule.
  7. The challenge with 2.1 is it doesn't work so well with movies or video that always have a center (dialogue) channel. Having dialogue from left or right is asking the receiver or amp processing to decide where and how to handle dialogue, which is never good. So 3.1 is the smallest I would go as a desktop solution UNLESS its only music, never video or movies. Brad
  8. I think the words "high quality" and "sound bar" cannot be used in the same sentence- its an audio rule! The only one I've ever heard positives about from others in the industry was the top end Sennheiser AMBEO. Not heard it myself. Brad
  9. No you didn't, sorry to infer that. Earlier posts about active linked it heavily to DSP and Class D, which are unrelated to active, so I was responding in broader terms. Id love for you to A/B an active and passive side by side. Its quite eye opening (or I should say ear opening). Brad
  10. The standard active uses some output devices in an Integrated Circuit. A discrete design as separate output devices that can be matched and driven with more current. I am not an electronic designer so I always think of it as discrete is the old fashioned way of doing it, and IC's is the newer way. I'm not sure that's an ideal discription for you or what you wanted to know. Brad
  11. HI Kal Is DSP really the sign of modern acoustic design? Active has nothing to do with DSP or Class D or anything like that. Its about trying to create a minimum phase loudspeaker for lower phase error and less distortion as a by product. I am sure someday the idea of putting amps BEFORE a giant, lossy coils of copper in a passive crossover will be perceived as so old fashioned. It is the same way we've been doing it since the 1930s or before! Sort of a parallel between a combustion engine on a transmission to an axle to drive the wheels (lots of losses and problems creat
  12. Hey Kal Okay, I'll bite. Active is the simple solution to the passive crossover problem. Here are some of the problems: 1) One cannot control phase through a passive crossover. One of the biggest differences in a proper speaker system vs a poorly performing one is making it a "minimum phase system" Measuring how well the speaker controls phase is a part of speaker measurement everyone in the industry EXCEPT consumer. 2) there are tremendous losses though all that copper even in a properly built passive crossover with oxygen free copper oin proper air core inductors. Then add
  13. Perfect explanation of the different types! It drives me nuts to see people incorrectly refer to active loudspeakers as "powered".
  14. I have to add that KEF did most of the heavy lifting in engineering the BBC monitor (LS3/5 -LS3=outside broadcast monitor; /5 =5 inch woofer). KEF was a OEM driver manufacturer and Cooke, one of the KEF founders, had worked at the BBC for a year as Technical Director. The BBC LS3 monitor speaker was built under contract by multiple manufacturers using a KEF KIT for both woofer and tweeter. Some familiar speaker names were at the BBC during this period of standardizing on loudspeakers across all venues to improve quality of sound: Dudley (and Beth) Harwood (Harbeth) and Spencer and Doroth
  15. Following engineers is and always has been the way to get good records or hear records that are well made. In modern times, start with Al Schmidt, George Massenburg, Chuck Ainlay and Ed Cherney. Most of these guys do a variety of records, few if any are classified as “audiophile records“, but they are the best of the best. They work constantly as the best musicians hire them again and again (except Ed now as he passed recently). In previous times (60s-70s) its a different list as they worked with a much more primitive studio set up, fewer tools but all that required greater inventiveness
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