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In Reply to: RE: When I get it closer to finished ... posted by Maxophone on March 14, 2014 at 21:13:56
There may be beaming - I sit in the same place when I listen and can only wish I could convince someone to come over and listen so what is called beaming by many I call focus.
You can barely see the FOSTEX t500's in the photo. They come in around 10K. The 2441's are not limited on the top end.
I am confused by upper bass horn? Do you mean what I am calling the sub500 horns? If you are there is simply no comparison in tonal quality, spaciousness in all directions and detail. I can assure you they are much better but am not practiced at the art of audiospeak in addition to the fact I do not know anyone with a big stereo system to compare - I can only compare to live music.
Not about to claim I have captured the sound of live music but there is much greater sense of dynamics - drums in both symphonic and rock settings have much greater realism. I wish they sounded real but there is much improved coherence of the initial impact and the overtones - there is a greater revealing of the overtones - both skin/head and shells.
Listening to the old warhorse - the Gershwin RHAPSODY/AMERICAN IN PARIS/Boston/Fiedler one can be almost overwhelmed by the sense of the hall the recording was made in. I thought I had had decent sound before but I have never heard anything like this.
I know there is more work to do which is pretty exciting.
Follow Ups:
Thanks for the response.I was asking about your mid-bass horn
which you answered,and also could you expand a bit on your
comparison of the Inlow and the Edgar round horn for the 2441 ?
I have not heard a lot of different horn setups.When I see a
horn shaped like the Inlow,I imagine that would constrict the
sound,but what you have said indicates otherwise.
When first installed and my memory of the sound of the Edgar's fresh the size of the sound reminded me of my me4mories of early Magneplanars driven by Audio Research D75's in comparison to what was available at the time.
(yes, this is a spacey comparison)
The size of the image projected by the Inlow's in comparison to the Edgar's was of the same magnitude. With the advantage that the Inlow (along with the Edgar for that matter) image better than the Magnepans. The Magnepans had almost no imaging ability at all but the size of the presentation was very attractive. This, for me, is a very important aspect of sound reproduction. I want the presentation to be as large as possible while being proportional to the scale of the music - it must be able to get small, if the recording will allow. Nothing will ever make the giant guitars on those old Cat Stevens albums ever become life size (not that I use those records as references - but it is pretty funny to hear).
AS much as I enjoyed my Edgar round horns for these many years there is no comparison to what Inlow has achieved. I think the material he used allowed taking the tractrix contour to to its conclusion - it would be very expensive to fabricate this with wood. I would ask who would want to since I suspect the paper mache is a large part of the quality of sound these produce. Low mass, very stuff results in minimal resonance and that results in a purity of tone and much less interference so the little details are easily revealed.
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