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Posts by Okv

Exactly, and you see this approach in all the big systems on this forum - waveguide and horns, high efficiency, and if more power is required, they get a pro amp.For most 'high-end' speakers it will not make that much of a difference with more power, because the speakers can only handle so much before they compress and distort regardless of how much you put into them.
Since there was talk about spl requirements - how loud does it need to play - I have actually measured music and movies playing at different volumes, to show that peak spl requirements are around 20-30dB louder (equals 100-1000x power) than the measured rms sound pressure level: http://kvalsvoll.blogspot.no/2013/11/how-loud-is-it-sound-pressure.html And how can this be possible to bear - more than 120dB? Two things are important here - one; this is the very short...
And also for those who have not heard of controlled directivity.Which pretty much sums up the typical "high-end" speaker of today - the lower octaves are missing, and there is little control of how the the sound is radiated.
Of course. Real people are different, and do not fit exactly into my description of the 'audiophile', which was meant as a fairly blunt generalization.
These are some very nice speakers, and I bet they sound accurate, has the right punch, and is very powerful. They are also professional speakers, so that they actually come with a specification, which makes it possible to predict the output. The problem is that the studios often are a bit larger than the typical small home theater, and that requires a lot more displacement. Monitor speakers systems are typically dimensioned for lots of output in the mid and upper bass,...
I am not so sure about that.
Well, at for movies at least there is a standard, and that alone is a good start.For reasons I have already mentioned, there will be differences when it comes to low frequency reproduction, because the guidelines does not cover all necessary issues.I do not believe the house curve is an industry standard, and i do not believe any monitoring studio or movie would be set up like this.Those venues are set up by professionals, using established standards and guidelines, and...
The problem is that the studio used for production may not reproduce much below 30hz.The installations simply does not have the required capacity and extension.Then it would need proper set-up as well, and since there are no standards describing how this should be done, it is likely that it will be equalized to a flat response, measured by a microphone at some listening position, and thus there will be no compensation for room size.So it is likely that in many studios...
Great post, Imagic. Back in the days, there definitely were very audible differences between amplifiers and sources, especially in the more reasonable priced units that was affordable. Today it is possible to achieve audibly transparent performance for very little money - a fact that is supported by controlled listening tests and also measurements of technical performance compared to the limits of what is possible to hear. The problem with 'high-end' is the continued...
And here is the problem.What the producer heard and what is on the disc is not the same.If you play back with sufficient capacity down to the lowest frequencies and the system is properly set-up, it will certainly be different from a reproduction with a cut-off at say 30Hz.There is a major difference between 20hz and 30hz capacity, and even 20 to say 15hz makes a significant difference.Some will say extension down below 10hz also makes a big difference, but everyone that...
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