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In the Forum: Playback Listening
In the Thread: “Harmonic Speed”- friend of foe?
Post Subject: Late to the partyPosted by Paul S on: 3/18/2008
Yes, that all makes sense in the listening, but where does it lead in terms of practice?

You won't find a better testbed for the idea than my BR bins, where speaker imepedance rises to over 40R at one point.

No need to ask if this can be heard; it certainly can.

I never tried to "use" Fs- quite the opposite -  but obviously the peak/dip pretty much inheres in the design, and in fact in most dedicated bass units.

Ironically, the "best" musical bass I have gotten is from the ML2s 16 Ohm taps, which seems to fly in the face of both the concept and the obvious problems that the Z/load creates.  What I am saying is that despite the "kitty's furry belly" problem, the harmonics and general musical character of the bass is either a separate issue or there are other forces at work in this equation that I do not yet understand.

Given the truth that inheres in your observations, Romy, it still seems like Zarathustra would be the most fruitful path.

The last time my electricity was excellent I had an experience with bass I have not yet mentioned, where it became clear that neither ambience nor harmonic balance nor, oddly, dynamics can be "complete" without damned deep, "correct" bass.  And this seems as true of a harpsichord or even a solo guitar as a full-tilt orchestra.  It is almost as though part of the "expression" is somewhere in what is generally regarded as the "fringes" of the sound. And just as true HF seems to "increase" or at least "improve" LF, so the opposite seems unexplainabley true, as well; "bottomless" LF just "opens up" the sound.

And it may well be that the match/marriage of amp/speaker is nowhere more important than it is at the "fringes".

Best regards,
Paul S

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