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Romy the Cat
Boston, MA
Posts 10,159
Joined on 05-28-2004
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Post #:
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231
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Post ID:
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27516
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Reply to:
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27514
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 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. |
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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. |
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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.
"I wish I could score everything for horns." - Richard Wagner. "Our writing equipment takes part in the forming of our thoughts." - Friedrich Nietzsche
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