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In the Forum: Horn-Loaded Speakers
In the Thread: The most promising “best” commercial speaker
Post Subject: InterestingPosted by Romy the Cat on: 8/18/2024
 Amir wrote:
I think TAD is also very very sensitive to upstream. TAD pattern is also very wide and the side walls should be far away from speakers. in the end I think those Be drivers are dynamic and have neutral tone not synthetic tone. 

Possible. As with any driver the “truth” is coming from from a person who spend extensive time to on adaptation of a given driver and not from a person who listen a drive in “as is” configuration in context of other people playback. I had 4001 or 4002 back in 2001 when I was looking for an alternative MF to my Vanguard Trio. At that time, I went over many compression drivers. The TAD driver did not even make a dent in my memory. As many times I have heard TAD I always heard the very specific signature that particularly was very auditable on recordings of large upper strings groups and in particularly on the recordings of bad quality. If you listen to the Berlin Philharmonic on DG label from 70-80 you will know what I mean. For some reason, TAD Makes sound as the instruments have nylon strings, it is very much implanted in my memory cannot recognize it immediately. It is possible that somebody who knows those drivers work with them and will be able to get rid of this effect but I never experience TADs with that synthetic quality.

 Amir wrote:
in this market we also have Living Voice Vox Olympian horn, one of the few commercial speaker that uses Vitavox S2, My friend has Living Voice in his home and the problem is Living Voice Vox Olympian is not perfect for all types of music, actually Living Voice is better for more simple music.

It is a very interesting observation. I have very good impressions after listening Living Voice Vox Olympian back in 2013. First of all, I really like the person who owns the company, and he is truly a Master. What I mean is that he uses all components that I intimately know but he created this Olympian his own unique sound and it is not something that I did. This quality of the person to use ordinary elements and components and create with them own distinct sound is a sign of Mastership to me. The second part is very peculiar. There are two distinct moments that I very much remember from listening Olympian. Those two distinct moment are so memorable because when I heard them I clearly recognized then my playback system cannot do it. Both of those distinct moments were on recording of string quartets. I actually do not remember how Olympian sounded on large scale music.  Hi Do Not say it was good or bad I just do not remember, but I remember it was not remarkable and because of this I do not remember. Topologically, my playback should be more advantageous than Olympian because I use properly implemented (!!!) multi amplification with DSETs and line level crossovers, make an amplification to act upon most favorable impedance. If I am not mistaken, the Olympian used a single amplifier, at least for horns. It does not make Macondo better then Olympian, Macondo just uses more advanced, and significantly more complex topology for an application. It would be insanely interesting to hear Olympian with my type multi amplification, only implemented by the Olympian designer.

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