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post #61 of 837 Old 07-04-2015, 10:49 AM - Thread Starter
 
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Test system:

2 CRMS MkIILimited point source


2 CRMSC-SR Point Source (as for ceiling)


1 Sentinel 3 Cyclop Eye Audiophile DSP PowerDac
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post #62 of 837 Old 07-04-2015, 11:00 AM - Thread Starter
 
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Before anyone here thinks they can copy my idea, think again, this datasat all digital connectivity to alcons is very tricky we tried at Infocomm and did not, I have researched and have the cell phone of Marshall The SUPREME GLOBAL HDMI chips overlord to help me with this. Caveat.:-)
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post #63 of 837 Old 07-14-2015, 03:34 PM
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Cineramax,
What do you think of Danyley's products for cinemas and or for home. I know some who frequent the speaker forum here use Danley's SH50 in the home . I just started reading today about a speaker from a company called L'Acoustic, I think it was called the Focus or ARC. Have you heard them and if so, could they be a killer speaker for a dynamic home theater.

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post #64 of 837 Old 07-14-2015, 07:06 PM - Thread Starter
 
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shivaji,


I have heard Danley's with Meyers at the shows along with jbl pro, there was something added to the soundtrack that over short time creates a subtle aversion response (Fatigue) To be frank since 2012 after doing a pro audio system in Skoll that yes recreated the Clash Of The Titans Craken very realistically, but add grit and crunch, so I divested myself from thinking coaxial horns (although the most dynamic) are capable of absolute fidelity at high spl's without fatigue.


Horns and domes breakup in hi frequencies...Proribbons don't


That is the grit and crunch that even the popular Meyers has in spades.

HORN COAXIAL GRATUITOUS COLORATION this applies to all horns.


This is what it should sound like.



I then participated in the researching, selection, installation or purveying of such systems for well documents deployments In Moscow, Detroit and near Franfurkt. Others followed the lead and there are a now a wide footprint of Quested Hi Spl Low Fatigue hi-verisimilitude systems in UK, Germany, The middle east and the far east, to Australia. Im happy to have effected that change, still the company's reticence to provide actual specifications was a turn off. Some leads did not consider that professional. So I kept my eyes and ears open.

Accidentally in April I stumbled into Alcons with client Taker whose theater (Aegir)'s shop drawings are a 28 channel Quested, it was a small booth worst show conditions, both taker and I were taken by the clean transparent "and airy"(you don't get airy with just about any other tech), horns the best of them are usually x -curved over 16 at show.

It had the impression of quested but appeared to have shown up to the fight with a wide arsenal deep in proprietary technology.

In June 17 Brad (La Salle) in this forum and I had a chance of an early 2 channel demo at the worst possible room with bare concrete no walls but fabric, but yet the demo was nothing short of spectacular, like in rocky mountain show, the system dispenses with need for absolute engineered acoustical treatments, it appears. I like that in a speaker I used to say speakers with Dynaudio Esotar you could lunge anywhere into the room and were they fell would still sound descent. problem later with DTS-MA the dynaudios started blowing drivers.

So at this point after a long career that boomed in the 1990's but because of a racecar driver ramming canadian greg moore into the wall, my career slowed down in 1999. Not until 2006 was I able to start again with the Megasystems and in 2009 I met with a billionaire home theater fanatic that took me in as his personal theater guy. It was this guys generosity (not so much to me but to his F-! class systems research effort) to send me anywhere I wanted to investigate for the development of 5 systems for him (each had to be better than the one before)that really has positioned me in a privileged cumulative insights pool of knowledge plateau . The one thing that you need to understand in Immersive video and audio is that PERCEPTION IS LEARNED. As unlikely a leader your humble servant may appear in a blind world the cyclop is king. That is why if you hear that there will be a game changing technology at some future cedia show make sure to attend. So you too can learn to be as discerning as you can, rather than buying by forum trends that may be meritory, but that at the same time may be turning back into an awaiting obsolescence net). Time to leave the Horn net behind you.


What I am saying this technology is for real, a whole other level ABOVE what I already thought was best and was given a great budget in Germany to do the Guinness world record 35 speaker home atmos system. But the phantom image that is patented through the 1-20khx 90 x 40 degree solid contiguous lens we are now in new confiable building blocks for synergistic system deployments.




The ribbon id super high power taking from 200 to 16oo watts depending on signal with no distortion. Christie was begging at their door to buy the company, NOT FOR SALE so they bought Boehlender graebder ( related to wisdom group), the sound overloads badly. Ask taker. Incidentally the Christie Vive is Over-specked and there are huge coverage holes in new vive atmos rollouts after deployment they have to do patchwork.

Right is the ribbon Christie wanted for their systems,Left is the one they got, then dolby bought another speaker company that uses that same ribbon, the non voice coiled non heat sunk one.


Not so with this tech.


Soon there will be home cinema solutions from this company and I am happy to help them in this regard. So follow the developments over the next months, it's worth every penny then more.

To show you how fanatic they are they address the opening up of the vertical dispersion with morfers.


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post #65 of 837 Old 07-14-2015, 07:57 PM
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Thanks for your detailed reply. Very interesting info as well. also nice reading about meeting the billionaire home theater fanatic and the fun that must have ensued. I have been following your posts as of late in regards to the new ribbon tech you have been listening to.
Take care,
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post #66 of 837 Old 08-13-2015, 08:31 PM - Thread Starter
 
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Cool Sherlock CINERAMAX solves Mystery Digital Disconnectedness @ Infocomm

Instead of sending an analog out and a digital out cable as requested we got sent 2 analog outs! Oy!



I wonder if it is still too late to stop the handicapped parking painting over re-purposing project at Datsat HQ's.



But our testing progressed and we are getting the fedexed cable by Monday.

Regretably the radeon hd 6700 pc (famed for handing out 96 24 and 192 was converted to Win 10, a curmudgeon for not allowing anything to pass through notwithstanding it's Kosher stuff.... We will see when cables arrive but "as your attorney I advice you" not to update your media server to Win 10 until they debug it..

The fancy origen st-21 has an Nvidia card which I read are harder to get high res audio from thsn the one converted to 10. Thank god that there is a handy Med8ber x3d 800 that was playing Yes @192-2 channel and 96-6 channel pink floyd dark side of the moon.

Despit all the innovation going into the 2 machines, the pc's may go unused after all.

Now someone at Datasat please make sure they sell me the right aes out cable.
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post #67 of 837 Old 08-14-2015, 05:58 AM - Thread Starter
 
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Dark Side of Moon 6 channel 96-24

Pink Floyd


Stay with Win 7 for now. Emotiva comes in handy identifying throughput signal with constant signal feedback.

Yes 192 2 channel Flac -here since we don't have xlr aes breakout, using usb.

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post #68 of 837 Old 08-14-2015, 12:28 PM
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Peter, I read online the other day on some chatbox that you can revert back withing a month. Poster said MS keeps your old windows (configuration) for that long. So, check it out and revert if you have to. He had solved his issue calling with Microsoft, so he hadn't reverted, if I understood correctly.
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post #69 of 837 Old 08-17-2015, 09:55 PM
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Interesting speakers. Definitely let us know when they come out with the version for home theater use.
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post #70 of 837 Old 08-18-2015, 09:44 AM
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The VR8 would work well for LRC's. Can you buy these in the US? Cant seem to find much info about them except on their site.

"we need more power" - My Wife.

Theater Build Thread - Wartooth
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post #71 of 837 Old 08-18-2015, 10:50 AM
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Quote:
Originally Posted by Frank D View Post
Interesting speakers. Definitely let us know when they come out with the version for home theater use.
For HT you want to look at the CRMS compact or CRMS series.
On their website go to the C series page then on the upper right click on the 2014 white paper. These are the two lines (and their subs) targeted for HT. I heard the CRMS's with Peter at Infocomm in a concrete warehouse and was floored by the sound. I'll be putting them behind an AT screen and in built in speaker columns. They don't have furniture finishes, but I'd rather spend my money on the sound than the cabinet finish.

For a two channel system you could do a line array with stacked Q24's. In a HT you could not use them in the height layers (and may not want them beyond L,C,R) and would be mixing ribbon driver's. Ideally they like the same ribbons in all speakers. There may be a dispersion issue / limitation (90/40 Deg) for use in Dolby TM or Auro VOG. Peter is talking to them about new potential options there.
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post #72 of 837 Old 08-18-2015, 05:07 PM
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Quote:
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For HT you want to look at the CRMS compact or CRMS series.
On their website go to the C series page then on the upper right click on the 2014 white paper. These are the two lines (and their subs) targeted for HT. I heard the CRMS's with Peter at Infocomm in a concrete warehouse and was floored by the sound. I'll be putting them behind an AT screen and in built in speaker columns. They don't have furniture finishes, but I'd rather spend my money on the sound than the cabinet finish.

For a two channel system you could do a line array with stacked Q24's. In a HT you could not use them in the height layers (and may not want them beyond L,C,R) and would be mixing ribbon driver's. Ideally they like the same ribbons in all speakers. There may be a dispersion issue / limitation (90/40 Deg) for use in Dolby TM or Auro VOG. Peter is talking to them about new potential options there.
Ok so if one is space constrained (ie about only 16 inches or so on screen side for HT due to smallish room) can one just use a CMRS-SR (maybe 12.1 inches wide) on a stand and a separate sub or would there be issues there?

What is the cost on the of the CMRS-SR?

Also what is the cost of the CMRS MkII? (I think that one is only 18 inch wide which would probably be a squeeze for me)?

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post #73 of 837 Old 08-18-2015, 06:20 PM
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Ok so if one is space constrained (ie about only 16 inches or so on scree side for HT due to smallish room) can one just use a CMRS-SR (maybe 12.1 inches wide) on a stand and a separate sub or would there be issues there?

What is the cost on the of the CMRS-SR?

Also what is the cost of the CMRS MkII? (I think that one is only 18 inch wide which would probably be a squeeze for me)?
In a smaller room I'd look at the CRMS Compact for the L,C,R and the CRMSC-SR for the height and surrounds with one or two of their subs (shallow CB151SL for behind the screen). The CRMSC also does not have to be bi-amped like the CRMS. The top cabinet and SR on the MkII are wider on the CRMS MKII closer to the base unit.

You could do a system with all CRMS-SR and a one or two CB151SL's, I think they are tuned to go lower than the CRMS base unit. I'll defer to Peter for a recommendation, he is working with them.

To give you an idea my room under construction is 36'x26'x12'
I'm looking at the CRMS for the L,C,R, the rest CRMS-SR's and 4 CB151SL's
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post #74 of 837 Old 08-18-2015, 08:26 PM
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In a smaller room I'd look at the CRMS Compact for the L,C,R and the CRMSC-SR for the height and surrounds with one or two of their subs (shallow CB151SL for behind the screen). The CRMSC also does not have to be bi-amped like the CRMS. The top cabinet and SR on the MkII are wider on the CRMS MKII closer to the base unit.

You could do a system with all CRMS-SR and a one or two CB151SL's, I think they are tuned to go lower than the CRMS base unit. I'll defer to Peter for a recommendation, he is working with them.

To give you an idea my room under construction is 36'x26'x12'
I'm looking at the CRMS for the L,C,R, the rest CRMS-SR's and 4 CB151SL's
Can you post a link to the CRMS compact as I did not see them on the web site or that 2014 pdf listing?

Also what about the VR line ie VR8 , VR12 and VR12/60? How would they compare?

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post #75 of 837 Old 08-19-2015, 02:40 AM
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Can you post a link to the CRMS compact as I did not see them on the web site or that 2014 pdf listing?

Also what about the VR line ie VR8 , VR12 and VR12/60? How would they compare?
http://www.alconsaudio.com/site/prod..._ENG_hires.pdf

The CRMS compact is on page 6, > 2" Ribbon, 6.5"Mid, 12" woofer
The CRMS on page 7 > 4" Ribbon, 8" Mid, 15" Woofer -biamped.

I don't know much about the VR line except Dave -head of NA, and Tom the owner/inventor talked about the CRMS lines for HT
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post #76 of 837 Old 08-20-2015, 11:21 PM - Thread Starter
 
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Vr8 are very suitable for Small room cinema...

Hi All,

Something has been bothering my conscience a bit, When I first posted in this thread I was being politically correct with Q and thus mentioned that these would be good speakers for rooms bigger than Quested handles, we have been delving deep into the line and probably soon @ CEDIA attendees might experience what will be touted as an "invitation to an Immersion cinema experience of 2025" but 10 years earlier. It wont be hype.

This is a very broad line and because its incredibly controlled dispersion and finesse has units that cover from very small disc remix rooms/booths to the very largest venues.

My original comment about bigger rooms after Cinemacon as I said was worded in PC fashion and after a very limted audition with Taker who liked them too, so I just edited the first post, with hindsight intel and all to read:

Very good company that takes the Quested clean dynamic House sound to audiophile immersive audio extremes in rooms of every size. The never before heard Phantom imaging acts synergistically to extract maximum multi object spatial and time domain resolution of Atmos and Dts-x object sound in 12-16 channel systems.

Anyone wanting to scrutinize the comprehensive price lists feel free to email.

Brad, when we were at infocomm demo the 4 surrounds were indeed vr-8's.

I like the vr-12's single channel for LCR.

Due to digital input these speaker systems are ideal to extract the best possible sound from digital out processors like the trinnov, datasat and theta.

If your processor is analog out you would be missing significantly on the incredible audiophile potential Alcons can yield.

The smaller CRMS's series can be satellite mounted there is control for time align in amps.
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post #77 of 837 Old 08-20-2015, 11:28 PM - Thread Starter
 
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The Broadway prosound community is jumping big time into their big arrays, that speaks for the uncanny fidelity of it to soundreinforce voice and orchestral music.... so it is not just for Big Atmos tracks.
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post #78 of 837 Old 08-23-2015, 07:51 AM
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Heard the LR28 line array this week end. The sound was very good, like a big stereo.

Norwegian rental company Trondheim Lyd is the first LR28 customer worldwide, having purchased a complete package of 32 LR28 line-arrays with 24 BC543 triple 18” cardioid subs plus Sentinel10 amplified loudspeaker controllers.

http://www.alconsaudio.com/lr28-larg...-array-system/
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post #79 of 837 Old 08-25-2015, 03:45 PM - Thread Starter
 
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Thanks Jeno, that makes only 4 of us in the forum that have appreciated the truthful Alcons sound.

Me, Greg (Taker), Brad (la Salle) and now you. Come CEDIA watch for the rave reviews to waterfall....
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post #80 of 837 Old 08-26-2015, 10:17 AM
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Where will these be at CEDIA?
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post #81 of 837 Old 08-26-2015, 10:49 AM
 
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Quote:
Originally Posted by CINERAMAX View Post
Test system:

2 CRMS MkIILimited point source


2 CRMSC-SR Point Source (as for ceiling)


1 Sentinel 3 Cyclop Eye Audiophile DSP PowerDac


Im curious what makes this DSP a Audiophile grade Power DAC. Is this a Amplifier with a DAC built inside with DSP Capability? How does it do time domain?


I enjoy your post Peter, but you seem to have the flavor of the month from Dyn to Quested now to Alcon, Just curious how does the Alcons compare to Quested?
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post #82 of 837 Old 08-26-2015, 11:06 AM - Thread Starter
 
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You should know that I continually assert the right to improve building upon achieved levels of performance, specially along established like-kind tech. benchmarks.
Case In Point: Q Ribs...

Unlike Integrators that require product stability over 2-3 years we operate like every major hi tech firm, for both fun and ethics our profits go heavily into research, consider this...

It sounds exactly as quested Lt-8/24's, but with controlled dispersion from 1-20 90 degrees with highly imperceptible lobing (Doing the duck to the floor test-the HF extends 10-17 degrees beyond 40 degrees vertical- it's just not 1-20 response there at the extremes). Hey but that is considered acceptable in the Q horizontal plane so taller perceived window in vertical crucial for height channels when mounted a la Meyer Atmos Re-rec rigs, after 6khz quested ribbons start constricting to very narrow HOR (huge difference you can really notice through it's Guinness Book of World Records' phantom imaging that you can almost "see-touch" from +- 5 degrees on axis side-toside >id call that very holographic) Their other-worldliness signature reminiscent of the largest MBL's, the phantom disappears just when you are 1 meter close to the phantom location ( ie. a disconnected center speaker -that you just swore there was a speaker active there), you back off .5 meter you hear it, you go forward and POOF!


I was never floored by the amt just by it's ability to punch through a microperf, but, the ribbon is more natural sound that you could swear is paired as the LCR to use with the lt-8/24 surrounds, problem is Q cannot buy the Patented technology to achieve Best Sound On The Planet (the pro-ribbon), for that matter Christie tried buying the company and could not. And they are a whale of a fish, that swallowed whole Osram which in turn had swallowed whole GTE Sylvania.

Naturally to properly convey the dynamics of the Atmos Mixes they also can play loud and unfatiguing like the beymas but natural sounding (no samurai sword cutting the air side-effects).

In comparison to the pro-ribbon the beyma and mundorf amt's are [INSERT INSULT HERE], to quote Where the Buffalo Roams or F&LILV : "As your attorney" I advice anyone thinking of an amt speaker to listen to the pro-ribbons.

Also these are not speakers only as they are married to a 96-24 feedback-enabled controller/powerdacs that have profiles for individual speaker models (from the little guys to the Opera House units) some are single channel amp, but scale to bi-amp ,tri-amp, etc... It's an all aes digital system to be matched only to processors suitably jack packed: Datasat, Trinnov and CB. Or Atmos, Auromax, Iosono etc.. in the DCI world.

Mark my words, without peer.

BOOTH 1310 at CEDIA

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post #83 of 837 Old 08-26-2015, 12:13 PM
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Thanks for the CEDIA info. I will be there.

Looks like Barco's booth. Should have known.

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post #84 of 837 Old 08-26-2015, 12:35 PM
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Quote:
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A lot of what is going in there I have been pushing Barco since I saw Dolby Vision @ Cinemacon, am getting most I asked for (SOUND FX: Extreme-resolution 6p-laser rattling in the background)( a DNA test will be required to determine who the real father of this baby is )...

Due to limited capacity that I learned today (20), sitting in on hourly demos for non-dealers is going to be hard , best you email me a month before to try hooking you up.
Sounds good. I'll email you in a couple of weeks as stated.
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post #85 of 837 Old 08-28-2015, 12:52 AM
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CINERAMAX

May I ask the " Vocal Performace" of Alcons Audio CRMS MKII?

How is the Dialog Clarity and Intelligibility of this Speaker?

Can you say it is the best in this area that you ever heard?




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post #86 of 837 Old 08-28-2015, 01:10 AM - Thread Starter
 
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Quote:
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CINERAMAX

May I ask the " Vocal Performace" of Alcons Audio CRMS MKII?

How is the Dialog Clarity and Intelligibility of this Speaker?

Can you say it is the best in this area that you ever heard?




Without questions from Brassy Male Baritones is scary good, multivocal 50's , falsettos, female across the range even Diana Krall sounds exciting,up there with listening to the 500,000 a pair MBL has a spooky presence and immediacy with excellent stereo localization, yes. Again a key area where the AMT imparts a more in your face slightly strident sound the pro ribbon is significantly more nuanced and aticulate whilst still conveying the complete air captured in the recording. If I am beginning to sound like the subjectivist audio fanatic magazine reviewers, my apologies.

I have always separated a great speaker amplfier from the pack is when you change recordings and the system takes on chameleonic characteristics. Case in point D'agostino introduction at CES with Wilson sasha. It was like someone schlepped a different system in every disc change. I heard that again with Brad in Orlando with the crms's.

Last edited by CINERAMAX; 08-28-2015 at 03:51 AM.
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post #87 of 837 Old 08-28-2015, 05:06 AM
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Without questions from Brassy Male Baritones is scary good, multivocal 50's , falsettos, female across the range even Diana Krall sounds exciting,up there with listening to the 500,000 a pair MBL has a spooky presence and immediacy with excellent stereo localization, yes. Again a key area where the AMT imparts a more in your face slightly strident sound the pro ribbon is significantly more nuanced and aticulate whilst still conveying the complete air captured in the recording. If I am beginning to sound like the subjectivist audio fanatic magazine reviewers, my apologies.

I have always separated a great speaker amplfier from the pack is when you change recordings and the system takes on chameleonic characteristics. Case in point D'agostino introduction at CES with Wilson sasha. It was like someone schlepped a different system in every disc change. I heard that again with Brad in Orlando with the crms's.
I completely agree with Peter, in fact they played a wide range of vocal material, some with harmony. It was on this material I was struck by the amazing cohearance between the ribbon and 8 inch mid driver.
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post #88 of 837 Old 08-28-2015, 02:49 PM - Thread Starter
 
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Mark My Words after CEDIA I am not going to gloat with I told you so's; promise!.

Within a few years this brand is going to be Numero uno.
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Mark My Words after CEDIA I am not going to gloat with I told you so's; promise!.

Within a few years this brand is going to be Numero uno.


I think within a few years you will be recommending something else :-) Lets see Peter Pan
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post #90 of 837 Old 08-28-2015, 06:54 PM - Thread Starter
 
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Never say never, but if they are reliable long term (like Donald has referenced installs in Holland that owners are gloating and boasting are going strong 10 years later and will not get upgraded along with the venues laser makeovers)and assuming their business dealings are fair and honorable, then I do not anticipate the need to dig further. Ever.

Neither the Beymas, the Mundorf, nor the ribbons used in Q have flat impedance making active x-overs necessary, and when by skew budget reasons they are analog then they are somewhat compromised. Curt found out an unusual hole above the tweeter on the LT-8, reason for which deliberate speaker orientation: upside down when on walls and similar orienting considerations when in heights because the speaker does not shoot straight out, but in an angle to obtain the flatter response.

Here are 10 other reasons why I foresee this being the number 1 within a couple of years from now well into mid century. The Legacy for Mid Century I so oft think about.

main advantages

The Alcons cinema sound systems are arguably the only Cinema
ready cinema systems, for a number of reasons:

HiFi sound at concert SPL! The RBN pro-ribbon drivers have up
to 90% less distortion than any conventional mid/high transducer
(@ same SPL), because of the lack of a compression chamber
and the light weight diaphragm (with integrated voice-coil).

Perfect speech-intelligibility The fast transient response + the
lack of compression “threshold” (the level under which the compression
driver doesn’t make enough compression to have actual
HF output) brings perfect intelligibility
and tonal balance at lowest as well as
highest SPL’s.

No listening fatigue Another benefit
of the superb transient response and
the lack of “time-smear” (a result of
the slow moving mass/diaphragm at
high frequencies) is the lack of listening
fatigue, even after prolonged listening
hours.

True 90 degree dispersion The RBN
pro-ribbon drivers features Alcons’
patented “Real-90” dispersion in the
horizontal plane, up to and beyond
20kHz. This offers patrons a much
wider stereo “sweet-spot”, thus more
people can enjoy true stereo.

Digital dynamics Where conventional
(compression driver) technology
has an RMS-to-peak ratio of 1:2 (i.e.
75W RMS / 150W peak), Alcons proribbon
drivers have an RMS-to-peak
ratio of around 1:15 (i.e. 70W RMS /
1000W peak). Together with the ultra-low
power compression (resulting
from the patented heat management
+ the direct air contact of the
voice-coil) this enables the maximum
dynamic range that 24-bit Digital Cinema
has to offer.

Note; In practice, the “fragile-presumed”
ribbon diaphragm seems to
be much stronger than a compression
driver diaphragm, as a result from the
light weight moving mass; The compression
driver starts to break-up at
8kHz. because the mass can’t follow
the speed. With “clarity” frequencies
around 16kHz (= twice the problem
speed) often boosted more than 6dB (= 4x the power!), the ribbon
driver handles this without failure, contrary to compression drivers
(break-up is most common reason for compression diaphragm
blow-up) > see explanation below.

Fllat SPL throughout the room by utilizing Alcons’ widely recognized
line-source technology, the CR4 reduces the normal (-6dB)
reduction of SPL coverage from front to rear, dramatically improving
the cinema experience for the audience further away from the
screen (“proximity” effect).

Very clean signal path As a result of the flat impedance of the
pro-drivers, no impedance correction is needed in the crossover.
This allows simpler filter designs, placing fewer parts/obstructions
in the signal path, thus offering improved clarity and accuracy
of the sound even with passive-filtered systems. The “Currentto-light”
driver protection, inaudibly protects the drivers for input
overload.

Truly accurate mid and bass response; The Alcons systems are
SIS pre-wired for SIS (Signal Integrity Sensing) circuit; In combination
with the ALC controller amplifier, influences of long speaker
cable lengths (typically for cinema!) are completely compensated
for (with damping factor of 10.000).

Space-economic design The ultra-thin
enclosure design (CR1
7”/17cm deep, CR2 10”/25cm, CR4
13,7”/35cm) enable mounting behind
any screen. With the moveable midhigh
section of CR1 and CR2, the directional
frequencies can be aimed at
the audience, while still enjoying the
shallow system depth.

Maximum mounting flexibility The
CR1 and CR2 systems can be stacked
or flown or wall-mounted behind the
screen. Virtually any set-up is possible.
Extended headroom With system
equalizing done by the SDP circuit of
the ALC controller-amp (instead of by
the passive crossover), the passive Alcons
systems deliver up to 4dB more
system headroom, starting at 800Hz.
It’s combining passive-filter amplifier-efficient
powering with active-filter
component-efficiency output.

Sustained power output The combination
of Class G power amplifier
stage with a 210 Joules capacitor
bank (ALC4: 400 Joules) makes the
ALC deliver super-dynamic and sustained
power output for even the most
dynamic digital soundtracks.

On the new Sentinel Amps:
The proprietary designed and developed Sentinel Amplified Loudspeaker Controllers are the “engine” behind every Alcons system and are designed to get the absolute maximum performance out of the pro-ribbon systems.

The ALC Sentinel features a powerful 4-channel DPS-based controller with ClassD amplifier stages. The 4 individually addressable inputs accept analogue or up to 192 kHz digital AES3 signals, that are up/down sampled to 96 kHz. by the custom high-end sample rate converters.

The future-upgradable powerful DSP engine enables minimal latency during processing of even the most complex (IIR, FIR) algorithms. Features include 6-band (shelf/pass/parametric) equalising per channel, delay, factory presets for all systems and system configurations, user-presets, event-logging and system feedback.

A Linux-based micro-computer “oversees” and controls all processes. The full-colour TFT touch screen and the multi-colour LED illuminated encoder in combination with tab-based menu structure offers intuitive control over the amplifier and processor sections, while reducing the number of “wearable” components.

The Signal Integrity Sensing™ circuit dynamically compensates the effects of long speaker cables; This results in a tight sub and bass response regardless of cable length or impedance (system damping factor of 10.000) and without the need for manually entering cable parameters. SIS™ also caters for futher reduced distortion (optimized cross-over drive).

The 4 patent-pending ClassD amplifier stages are 93% efficient and offer one of the lowest THD in the industry. Together with the 2 (redundant) switch-mode power supplies, the Sentinel3 delivers a total of 3.000 W. The modular design makes for easy “in-the-field” servicing and future upgrades.

The Power Detection Circuit automatically select the correct operating AC current 115 V / 230 V and protects against overload above 400 V.

Individual Sentinels can be simply controlled through a VNC app. on any mobile device; More complex Sentinel clusters can be controlled via the ALControl™ Ethernet-based remote-conrol connection. Internal slots are available for optional Audio-over-network plug-in modules.
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Last edited by CINERAMAX; 08-29-2015 at 05:59 AM.
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