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RE: "Maggie woofers for the midbass, Acoustats for the mids, Maggie ribbons for the highs" :-)) ...

Wow, 120 dB, that's not bad (for anything except your ears, that is). Agree that a recording made in a large hall isn't going to have that kind of impact, and I'd think that raising the levels up to what you'd experience next to the piano would distort the overall presentation even more than what the butchers I mean producers did when they compressed it. (Did I ever tell you about the one time I heard Horowitz live? The remarkable thing about it wasn't the loud passages, but the preternatural evenness and quietness of his pianissimos. Control like I've never heard and didn't think was possible. Every time he played one, the audience would literally gasp and you could hear the intake of breath in the auditorium. Amazing, but completely absent from the recordings. I think there should be a law that dynamic range can't be altered, and that all recordings have to have an absolute SPL reference.)

Thanks for the Acoustat levels. I'm wondering whether you could get to 115 dB if you move the crossover even higher, say to 80 Hz or more. I'm curious about the practicality of a planar/electrostatic hybrid with good dynamics (minimum 115 dB, though of course higher would be better). Also about the practicality of a Mmlrot1-type Tympani/electrostat kludge with wide dynamics. I think that would pretty much rule out the wider double-width Acoustats if you kept the ribbon tweeter because you'd have to put it too far away from the acoustic center of the midrange, and I'm not wild about beamy speakers so if it were me, I'd want to. Logans might be a better choice since you can run them full range without too much beaming, but I'm not sure what their dynamic range is either (the hybrids cross over significantly higher).

Nobody makes what I'd really want, a high-output delay line line source stat, though I gather Kentaja's friend is working on it. But he was talking about something too wide for this use anyway.


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