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In Reply to: RE: Put the money into acoustic treatement, the room IS the speaker... posted by toenmaniac on October 06, 2007 at 06:22:13
What about that is unclear?
JM
I'm only trying to give you ,and perhaps your expensive architect, the benefit of my direct experience. I've worked with plenty of architects, I'v known some very fine ones... sometimes they don't know about a potential solution, or they haven't considered it, or they have preconceived notions about what "should" sound best... heck, i've had isomorphic experiences with doctors, known authorities who didn't know many things... just because youv've retained an architect doesn't mean you will get the best result... your statement betrays a shocking combination of arrogance, smugness, defensiveness, immaturity, and naivete... in other words you ever so richhly deserve whatever outcome you receive... what about that is unclear ? I mean, clear enough to everyone who has to endure you.... I hope they are billing you on a time and materials basis... idiot.
How about the fact that Rives' vice president who is the contact person for this job was a lead engineer on Led Zeppelin II, and won a Grammy for producing an Eric Bourdon record.
I was responding to what I perceived as hasty reading on your part.
As far as I am concerned, my stating that Rives was on the job should alert people that the acoustics were being handled as an intergral part of the design.
And I don't think I need to be lectured in hyperbolic terms about the benefits of acoustical treatments for rooms that have already been built. As far as I am concerned, your $2,000/$20,000 example is quite an overstatement.
Mr. Smarty Pants:Assuming those statements about Rives' VP are facts:
- How do they prove, or even suggest, the man is a room acoustics expert?You might as well have mentioned that he won a hog-calling contest when he was 15 years old!
Based ONLY on those two facts you used to defend Rives' VP,
I'd worry about:
(1) Permanent hearing damage from prior music career
(2) Likes rock music (the devil's music)But 'slightly' more important than giving you a hard time:
-- Which Eric Burdon record?
I'm a long-time fan of his work though the War era.
.
.
.
Richard BassNut Greene
Subjective Audiophile 2007
From Wikipedia:
Christopher 'Chris' Huston (b 25 June 1943) is a leading British-born record engineer and guitarist.
Huston arrived in Wallasey, near Liverpool, toward the end of World War II from an orphanage in North Wales. As a teenager he began studies at the Liverpool College of Art, where he became friends with John Lennon and, like Lennon, began copying the American R&B music imported through the city. In 1961 he joined The Undertakers, one of the leading local Merseybeat bands, as lead guitarist, shortly before Jackie Lomax joined as the group’s singer.
The Undertakers released a string of singles in the early 1960s and toured widely, but had little chart success. They split up in the USA in 1965, and Huston stayed behind. Initially he toured as a member of Joey Dee and the Starliters, before linking up with The Young Rascals to start a new career as a producer and engineer.
As engineer, he won a gold disc for the Rascals’ "Groovin’", and in the late 1960s engineered a string of successful and innovative albums with artists including The Who, Led Zeppelin, Todd Rundgren, Patti LaBelle and H.P. Lovecraft. He worked particularly extensively with Eric Burdon and War on their albums through the 1970s and 1980s, winning a Grammy for “The World Is A Ghetto” (1973). He also worked with James Brown, Ben E. King and many others.
Huston has subsequently become a leading consultant and lecturer on acoustics, building design, recording techniques and record production, based near Nashville.
[edit]
JM resumes:
Chris was lead guitarist of the Merseyside group The Undertakers; he was a college classmate and pal of John Lennon's. It was Chris who put the first tremolo bar on one of John Lennon's guitars.
Now I will be the first to admit that putting the tremelo bar on John Lennon's guitar in and of itself does not qualify one for designing a room for critical listening to classical music LPs. However, Chris' track record in studio design and House of Worship Design and from-scratch (Rives Level 4) home listening room design puts him in my educated estimation certainly on the level of the top half dozen such resources within the US. Some others being Walters/Storyk, Artec, BBN, and Bob Hodas.
Furthermore, Chris has been involved in the project since before there were any drawings of any sort. He has spent a fair amount of time on campus and understands the project goals as well as anybody does. I know Chris. He is affable and has a great sense of humor and listens to other people. I think it is a great project. Perhaps after it is built, if JA agrees, I can write it up for Stereophile.
Cordially,
JM
up through "Why Can't We Be Friends" are some of the most well recorded "pop" Lps. I also happen to be very fond of the musical content...
BB Dickerson's bass was always particulary well recorded: great tonality & texture coming through there for a Fender Jazz bass and an easy and fluid sound to all the playing and singing comes through in a very graceful way.
If Huston had much to do with that he deserves some serious kudos.
"...You're all welcome to stay for the next set...we're going to play all the same tunes, but in different keys..." -Count Basie
Chris designed Mikel and my rooms also. For something that large, I'd suggest either the ATC or Duntech. You could also look into the Dunlavy and Wilson line. Don't know if the Wilson's are out of your budget or not. I'm using the WATT/Puppys and they should mate really well with the design. You might want to ask about the Talon line that Rives just picked up.
Regards,
Bruce
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