Romy the Cat wrote:

This position is near flawless what the Red run at minus 9dB.

Regarding the diary of an Audio Psycho :

"Jessie, my site is not a collection of “audio wisdom” but rather a diary of an audio psycho..."

Yes, and I can't wait for the film! I heard that Vladimir Lamm, Michael Fremer, and even Magnetar will be making appearances... I heard John Atkinson is being consulted by the editing director... There is supposed to be quite a hot scene involving an adolescent camel... I just can't wait!

Seriously though, I do understand.

"We all and certainly I do make moves into wrong direction, or in less productive direction, not to mention the very stupid directions. It happens here, my site reflects it (like my attempts to use tweeter attenuation with moving the tweeter on the slope and a few others….)"

I need to go back and re-read your posts on the subject, as I don't recall why you concluded that it is an error to high-pass the tweeter such that the listener only perceives the lower part of the slope (if that's what you mean when you say when you write "with moving the tweeter on the slope" ... this seems a very effective means of achieving attenuation without resorting to various barbarian devices... In fact, I currently (stupidly?) have my tweeters high-passed at something like 16KHz first order.

"When I discover or realize about my wrong or not fruitful moves I always publish the follow-ups but never delete or edit the older posts."

Yes, please continue this practice ; I am certain that I am not alone when I say that it has contributed enormously to my understanding (to say nothing of the time it has saved).

"...I very much might try to use the metal suspension again when I will be driving the MF with a single-stage Milq, direct coupled or ater I try the Duddanization of the cone. The single-stage Milq should be “a cleaner electronics” and it should be advantageous...."

What do you mean by "the Duddanization of the cone"... I would guess you are referring to damping the cone via some sort of coating (saliva from your pregnant adolescent camel... You do realize she has been pregnant for a very long time...)

"...Since you already do have the S2 driver then buy from Mike one single plastic suspension cone and try it next you original cones..."

My S2s have metal diaphragms... In fact, I did not realize that it was still possible to buy the diaphragms with plastic suspension (???).

Thank you for your offer to lend me a diaphragm... It would seem best that I try to buy the diaphragms that I don't have (plastic suspension)... If I heard the plastic suspension in my system, and liked it, but then could not buy a pair, I might just become and Audio Psycho...

jd*

jessie.dazzle wrote:

Your latest post got me thinking in a sort of incomplete way about how you might locate the injection channel... If you consider tone as a harmonic of the original source, then (depending on the order of harmonic) it may in fact not be correct to attempt reducing the proximity between the point of origin for your tone generating channel and that of your main channels? This might or might not be correct... Like I said, I am just thinking out loud here, but have you tried intentionally disassociating the Injection Channels (completely) from the Macondos (both in location as well as direction of projection)?

It is exactly how I fell now and why I posted that post. I do not need the Injection Channel as a sound source but rather as source of semi-ambient noise. What I do not need is a directivity as any Red directivity introduces lobbing and all sort of other problems.

jessie.dazzle wrote:

I need to go back and re-read your posts on the subject, as I don't recall why you concluded that it is an error to high-pass the tweeter such that the listener only perceives the lower part of the slope (if that's what you mean when you say when you write "with moving the tweeter on the slope" ... this seems a very effective means of achieving attenuation without resorting to various barbarian devices... In fact, I currently (stupidly?) have my tweeters high-passed at something like 16KHz first order.

http://www.GoodSoundClub.com/TreeItem.aspx?PostID=1525

http://www.GoodSoundClub.com/TreeItem.aspx?PostID=2790

Romy the Cat wrote:

So, I took my time and moved around the Red tweeter, here and there, in different application… I do not know…. Whatever I did and wherever I placed it does screw up sound in one way or other. Turning channel off, setting it in geometric shadow of other horn works very nice but request to add more output to the Injection Channel that made other problems and still even if I accept them it greatly reduces the effect of the Injection.

Eventually I figured out that my initial idea to keep it in vertical plane above the Macondo was not as bad after all. It does crew up imaging is some way and does introduces some special dirt but it screws the thing up in the most tolerable way. So, I will stick with my original plan and will build a small box above Macondo and use a smaller version of Tannoy 10” Red.

Does is worth it? Well, think about it: I do perfectly recognize the negative consequences of Injection Channel but still wiling to use it.

It was exactly how as I imagined - the Injection Channel worked very-very well. The electricity was good, close to wonderful. I calibrated everything and decided to spend a few hours just listening some tonally complex things. The Injection Channel made the think a freaky in a way. I know this musuc very well but the Injection Channel made it TONALLY HALLUCINOGENIC. The effect if injections truly phenomenal.

I started with Stravinsky’s L'Histoire du Soldat by Ars Nova Ensemble by Mandell (courtesy to Robert Witrak and Charles King). It is kind of is a way difficult to listen this recording. It has poltergeists in it without Injection but with Injection it kind of…become so freakish that it is not tolerable.

Then it was Rachmaninoff’s Second Concerto by Byron Janis and Minneapolis Symphony. It hardly possible to find any more interesting committed to record orchestral play of the Rach’s PC2 .  The Dorati’s orchestra nothing short of stunning and what I looks for THE tone it should not go too far from there…

Then it was Haydn’s “La Reine de France” by Chicago and Kurt Masur from 1988. Chicago in 80s? Haydn and Masur? All together?  Am I kidding? Well, listening what they do it looks like they were kidding. It is kind of “pressurized Haydn”, played with Glenn Gould’s “nervousness” and with the Van Gogh’s over-expressive colors. The Injection made the room truly seaming in the colors, wit all those grades, shadows and overtones… I disconnected the Super Milqs and listened juts the Injection Channel. It sounded like drinking consecrated syrup while being thirsty. However, at minus 9dB and supplemented with Macondo it was quite tonally wonderful.

Then I played a French-pressed Menuhin with Shankar. It is not exactly my music but I hit it anciently while was trying to play other Menuhin. However, the Sound of that “Shankuhin” was so interesting this time that I actually spent quite a time with it.

In the end I played Samson et Darcica by Bastil and Myung Chung. It is amassing what the Injection does to voices!!!

In the end, the Injection Channel is freakishly interesting thing. If someone discover a 4-5” driver that can have the same Syrupy Sound as the Red 10” then please let me know.

Paul S wrote:

And how great is it that this works so well as yet another front-firing driver in that mix? That in and of itself seems so unlikely. But the proof is always in the pudding, isn't it?

jessie.dazzle wrote:

This event really reinforces my curiosity to try such drivers in the Mid-Bass horns. As there are plenty here in Europe, that is exactly my plan (most however are not 16Ω... don't know to what extent that might be an issue... all my other drivers are 15/16Ω... Does anyone have thoughts on this?).

yoshi wrote:

I assume it is the result of specifically targeted application to an already … and would be very difficult to duplicate anywhere else.

As usually I have difficulties with it - the duplication. This subject would go along with the subject of me do not like to provide “recommendations” for audio people.

http://www.goodsoundclub.com/LatestPosts.aspx?ThreadID=4565

The Injection Channel is not some kind of abstractive tonal Injection but the injection of the specific delta between the raw Macondo and the sound that I feel Macondo should have. There are no reasons for anyone to duplicate what I do. Different paybacks might have different sonic charisma, this owner might have different listening objectives and different tonal reference points… Consequentially those system owners, even if they embrace my ideas of Injection, might chose to use the different colorizing drivers/channels and different ways to use them.

So, I do not see that “duplication” even might be considered as an option. I disclosed what I did and if you, the readers, consider it worth attention then feel free to reinvent your own injection techniques… or would be better - invent drivers that would not need any Injection help.

el`Ol wrote:

Romy, What happens when you use the injection channel with inverted polarity?

el`Ol wrote:

I wouldn´t talk about "wrong polarity", rather about "dislike of the resulting harmonic spectrum". Wonder how the result would be with phase-correct FIR filters for the RED.