This is also true of other very stiff suspension drivers like my Lowthers and Supravox drivers…played often they sound wonderful but after not playing awhile they can sound mechanical.
Hopkins' System
- Thread starter hopkins
- Start date
I don't have enough experience with the Altec drivers to have an opinion - but I did find it to be an interesting point of view.
I have always been a little suspicious of claims that speakers require long break in periods but his point is a little different (that they have to play regularly).
My open baffle speakers (Tang Band drivers) settle in after 15-30 minutes, but it could be my ears adjusting to the sound? Either way, it does not really matter, it's just part of a routine now.
I have always been a little suspicious of claims that speakers require long break in periods but his point is a little different (that they have to play regularly).
My open baffle speakers (Tang Band drivers) settle in after 15-30 minutes, but it could be my ears adjusting to the sound? Either way, it does not really matter, it's just part of a routine now.
The WiiM Pro being compatible with Logitech Media Server, and bit perfect in that configuration, I started using LMS again for my local library, instead of MPD - so I don't use a raspberryPi any longer, just the WiiM. I use the WiiM app to play Qobuz, and I go back and forth easily between the two apps on my phone.
With LMS, I can also access my album notes, which is really handy if you don't want to resort back to the CD booklets to look up who is playing, when, and check the liner notes. I also add information from other sources. The "Material Skin" LMS plugin offers a nice user interface on my phone and allows adding dynamic links to my album web pages.
Here's a small demo. The sound is recorded from my open baffle speakers (from my phone as well):
This is the first track on the Mosaic Records Savory Collection:
www.mosaicrecords.com
It is a broadcast of Coleman Hawkins performing "Body and Soul" at the "Fiesta Danceteria" in 1940. An extract of the line notes by L.Schoenberg:
We defer to saxophone virtuoso James Carter for his reflections on the 1940 tunes captured from New York's Fiesta Danceteria!, which according to the announcer was "the world's first self-service nightclub." Hawkins' residency there was short-lived, as he paid scant attention to the owner's requests that the band's songs be as short as possible to encourage the dancers. What we hear here is proof positive of Hawkins' decision to play music the way he wanted to, with an extended instrumental solo of unbridled brilliance.
[James Carter]"For us aficionados of Coleman Randolph Hawkins, his name is synonymous with the Rosetta Stone of tenor saxophone recordings: none other than the October 11, 1939 studio recording of Body & Soul! In this 1940 outing with his big band in tow, Hawkins sees his previous two choruses and ups the ante by playing an additional two choruses to boot, building on an already rock solid blueprint of sublime tenor chanting! In Hawk's extended reading of "Body", I hear familiar quotes from 39 but he's not resting on the laurels of a successful recording because he continues to challenge himself by using the two additional choruses to gain swinging momentum and further prove that even after his five year absence in Europe that he's still the Father and the emancipator of the tenor saxophone!
The sound quality is better than you would expect. The saxophone is clearly heard, with a full sound and "presence", and in the background you hear the noise from the club - chatter, silverware...
The recording volume is not very high, considering it is late at night, here in Paris. The speakers are roughly 1.5 meters from my head (which is not shown in the picture below!). Sound is very satisfying.
In that configuration, I elevate the speakers slightly to have a more even distance to the individual drivers, which blend seamlessly. I have no other acoustic treatment than a curtain on the window next to the right speaker,and bass traps in the corners behind the speakers. When not in use, I slide the speakers just in front of the bass trap. The speakers add character to the room
Guests are always curious to hear them when they see them!
With LMS, I can also access my album notes, which is really handy if you don't want to resort back to the CD booklets to look up who is playing, when, and check the liner notes. I also add information from other sources. The "Material Skin" LMS plugin offers a nice user interface on my phone and allows adding dynamic links to my album web pages.
Here's a small demo. The sound is recorded from my open baffle speakers (from my phone as well):
This is the first track on the Mosaic Records Savory Collection:
The Savory Collection 1935-1940 (#266 - 6 CDs) - Mosaic Records Limited edition
“Savory Collection-Historical discovery! "Count Basie,then Waller, Ella Fitzgerald, Coleman Hawkins, and that was just in the first couple of boxes!"
www.mosaicrecords.com
It is a broadcast of Coleman Hawkins performing "Body and Soul" at the "Fiesta Danceteria" in 1940. An extract of the line notes by L.Schoenberg:
We defer to saxophone virtuoso James Carter for his reflections on the 1940 tunes captured from New York's Fiesta Danceteria!, which according to the announcer was "the world's first self-service nightclub." Hawkins' residency there was short-lived, as he paid scant attention to the owner's requests that the band's songs be as short as possible to encourage the dancers. What we hear here is proof positive of Hawkins' decision to play music the way he wanted to, with an extended instrumental solo of unbridled brilliance.
[James Carter]"For us aficionados of Coleman Randolph Hawkins, his name is synonymous with the Rosetta Stone of tenor saxophone recordings: none other than the October 11, 1939 studio recording of Body & Soul! In this 1940 outing with his big band in tow, Hawkins sees his previous two choruses and ups the ante by playing an additional two choruses to boot, building on an already rock solid blueprint of sublime tenor chanting! In Hawk's extended reading of "Body", I hear familiar quotes from 39 but he's not resting on the laurels of a successful recording because he continues to challenge himself by using the two additional choruses to gain swinging momentum and further prove that even after his five year absence in Europe that he's still the Father and the emancipator of the tenor saxophone!
The sound quality is better than you would expect. The saxophone is clearly heard, with a full sound and "presence", and in the background you hear the noise from the club - chatter, silverware...
The recording volume is not very high, considering it is late at night, here in Paris. The speakers are roughly 1.5 meters from my head (which is not shown in the picture below!). Sound is very satisfying.
In that configuration, I elevate the speakers slightly to have a more even distance to the individual drivers, which blend seamlessly. I have no other acoustic treatment than a curtain on the window next to the right speaker,and bass traps in the corners behind the speakers. When not in use, I slide the speakers just in front of the bass trap. The speakers add character to the room
Guests are always curious to hear them when they see them!
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The WiiM Pro and LMS are gapless, as far as I can tell.
"Winterland" is my favorite 1978 Springsteen concert. I bought this album (LPs) when I was 15, at a record shop on Bleeker Street - it was a bootleg at the time (as predicted by Springsteen in the video...). The sound sucked, but I didn't care. Some CD versions became available later, for example this one: https://www.discogs.com/release/2511026-Bruce-Springsteen-Winterland-Night
The official release has much better sound, though a tad bright at times. My bootleg was probably recorded off the radio, whereas this is a tape recorder plugged in to the soundboard, I assume.
"Winterland" is my favorite 1978 Springsteen concert. I bought this album (LPs) when I was 15, at a record shop on Bleeker Street - it was a bootleg at the time (as predicted by Springsteen in the video...). The sound sucked, but I didn't care. Some CD versions became available later, for example this one: https://www.discogs.com/release/2511026-Bruce-Springsteen-Winterland-Night
The official release has much better sound, though a tad bright at times. My bootleg was probably recorded off the radio, whereas this is a tape recorder plugged in to the soundboard, I assume.
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The full concert version available on Qobuz has the song titles mixed up, and sounds bright. You can check the sound quality on this track, which is actually "Fever":
open.qobuz.com
Versus this version from a compilation of various shows:
open.qobuz.com
Here is a good compilation of various 1978 shows - to experience the power of the E Street Band!
And here an excellent version of "Kitty's Back" from the 1978 Passaic, NJ show:
open.qobuz.com
Roy Bittan on piano swings!
For those who don't have Qobuz (this is cued up to the start of his solo):
Live music can be so rewarding, as the musicians have freedom to let loose (whether in 1940 or in 1978).
Open Qobuz
open.qobuz.com
Versus this version from a compilation of various shows:
Open Qobuz
open.qobuz.com
Here is a good compilation of various 1978 shows - to experience the power of the E Street Band!
And here an excellent version of "Kitty's Back" from the 1978 Passaic, NJ show:
Open Qobuz
open.qobuz.com
Roy Bittan on piano swings!
For those who don't have Qobuz (this is cued up to the start of his solo):
Live music can be so rewarding, as the musicians have freedom to let loose (whether in 1940 or in 1978).
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The Boss may not be at ease on my Altec 755C, but Coleman Hawkins certainly is:
I had not seen that he made another video later discussing this point again:
He attributes differences in experience with Altec to climate differences
In Hawaii: salty air, high humidity...Mosaic Classic Don Byas Sessions 1944-1946 just in:
40 page booklet with liner notes by Loren Schoenberg and nice photography:
10 CDs to rip... Alas, the titles are not available in online CD databases or Discogs - that is something Mosaic Records should improve upon. Perhaps I will create an entry on Discogs. Session info is here: https://www.mosaicrecords.com/product/classic-don-byas-sessions/
The source material is mostly lacquers, but some LPs as well when the lacquers were not available.
It contains a number of recordings made by Timme Rosenkrantz in his apartment, many of which were previously unissued.
en.wikipedia.org
40 page booklet with liner notes by Loren Schoenberg and nice photography:
10 CDs to rip... Alas, the titles are not available in online CD databases or Discogs - that is something Mosaic Records should improve upon. Perhaps I will create an entry on Discogs. Session info is here: https://www.mosaicrecords.com/product/classic-don-byas-sessions/
The source material is mostly lacquers, but some LPs as well when the lacquers were not available.
It contains a number of recordings made by Timme Rosenkrantz in his apartment, many of which were previously unissued.
Timme Rosenkrantz - Wikipedia
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Am very happy with the sound of my open baffle speakers tilted slightly backwards. Don't know why I did not try this before. Or did I? When we change too many variables at the same time we risk missing something.
Gene Ammons - Two Different Worlds:
Gene Ammons - Two Different Worlds:
ECDesigns has finally starting selling their new product line on their web shop. They are a two-person team, and they assemble everything in-house.
I look forward to hearing feedback from other customers. I wish them success.
I look forward to hearing feedback from other customers. I wish them success.
You should check out Jan Evensmo's solography of Gene Ammons, if you have not already:
http://www.jazzarcheology.com/?s=Gene+ammons
Many interesting early recordings to discover.
I have been listening to some of that 10 CD Don Byas Mosaic box set in the past few days. It is a terrific collection. The sound quality is very good.
Exciting to see that Jan Evensmo just came out with a solography of Ray Nance on violin: https://www.jazzarcheology.com/ray-nance/
If you like "vintage" jazz, sign up to his newsletter! It is a great way to discover new recordings, and insights into often neglected artists.
If you like "vintage" jazz, sign up to his newsletter! It is a great way to discover new recordings, and insights into often neglected artists.
@hopkins
You clearly have excellent taste! Either that or you are somehow checking out my frequently played records. Just yesterday I was playing Ellington’s Indigos album and my favorite track is “Autumn Leaves” with Ray Nance on violin and Ozzie Bailey on vocals. Hauntingly beautiful! Just thinking about it sends a shiver up my spine.
You clearly have excellent taste! Either that or you are somehow checking out my frequently played records. Just yesterday I was playing Ellington’s Indigos album and my favorite track is “Autumn Leaves” with Ray Nance on violin and Ozzie Bailey on vocals. Hauntingly beautiful! Just thinking about it sends a shiver up my spine.
"Guitar Amour" from the underrated Ellington album "Midnight In Paris".
And a nice version from the Johnny Hodges/ Oliver Nelson album "The Eleventh Hour":
Ray Nance plays violin on both.
The combination of these old speakers with the powerDAC-SX gives really great results. The level of definition and sense of realism achieved is impressive, at least when listening in my living room (not sure how much transpires through phone videos):
It is nice to have two sets of speakers that complement each other. I am not sure I could ever find one speaker that "did it all" (for me) especially in a non-dedicated listening space.
It is nice to have two sets of speakers that complement each other. I am not sure I could ever find one speaker that "did it all" (for me) especially in a non-dedicated listening space.
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Speaking of listening spaces...
I was just reading on a French forum this well-known "influencer" stating that you cannot evaluate components unless you have a well-treated room (defined, among other things, by a low RT60).
He even goes as far as requesting that people providing opinions about speakers indicate the RT60 of their rooms!
Now this person just finished turning his basement into a dedicated listening space. He hired a professional acoustician to design all the room treatment. I am sure it sounds great, and that he is very proud of it:
But to claim that we need perfect acoustic conditions to offer credible evaluations about components and systems is ludicrous. What could motivate such a "radical" point of view? I wonder... And what would be the consequences? "Reviewers" would need to be vetted to be included in a small club of "acoustically approved listening rooms"? As a logical next step, perhaps these reviewers should be asked to publish a yearly report from their audiologist!
First of all, we all know that much of the room acoustics can be avoided with nearfield listening. Obviously not all speakers are suitable for near-field listening, but you do get valuable data by listening even to individual drivers up close...
Listening with quality headphones can also help us form an opinion on some components.
Then think of this: do we need perfect acoustic conditions to recognize live music from reproduced music? No ...
Do we ever listen to live music in acoustic conditions that come close to a "cost no object" dedicated listening space? Probable not.
So some characteristics of sound reproduction do survive poor acoustics.
There are certainly levels at which room reverberation can seriously compromise sound - we have probably all experienced that at one point or another - but a cozy living room is not a bathroom.. Who is to decide what level is acceptable?
Personally, I use all tools at my disposal to form an opinion about components - because I am well aware of the issues that room acoustics can present. But I also know that there is much more to room acoustics than a simple RT60 measurement.
I was just reading on a French forum this well-known "influencer" stating that you cannot evaluate components unless you have a well-treated room (defined, among other things, by a low RT60).
He even goes as far as requesting that people providing opinions about speakers indicate the RT60 of their rooms!
Now this person just finished turning his basement into a dedicated listening space. He hired a professional acoustician to design all the room treatment. I am sure it sounds great, and that he is very proud of it:
But to claim that we need perfect acoustic conditions to offer credible evaluations about components and systems is ludicrous. What could motivate such a "radical" point of view? I wonder... And what would be the consequences? "Reviewers" would need to be vetted to be included in a small club of "acoustically approved listening rooms"? As a logical next step, perhaps these reviewers should be asked to publish a yearly report from their audiologist!
First of all, we all know that much of the room acoustics can be avoided with nearfield listening. Obviously not all speakers are suitable for near-field listening, but you do get valuable data by listening even to individual drivers up close...
Listening with quality headphones can also help us form an opinion on some components.
Then think of this: do we need perfect acoustic conditions to recognize live music from reproduced music? No ...
Do we ever listen to live music in acoustic conditions that come close to a "cost no object" dedicated listening space? Probable not.
So some characteristics of sound reproduction do survive poor acoustics.
There are certainly levels at which room reverberation can seriously compromise sound - we have probably all experienced that at one point or another - but a cozy living room is not a bathroom.. Who is to decide what level is acceptable?
Personally, I use all tools at my disposal to form an opinion about components - because I am well aware of the issues that room acoustics can present. But I also know that there is much more to room acoustics than a simple RT60 measurement.
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The subtext here is that if you don't like a product that the "reviewer with the great listening room" recommends, it's because you have not listened to it in optimal conditions...
If only audio was so simple
If only audio was so simple
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