Natural Sound
- Thread starter PeterA
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Errmm, because
1. I was referring to O96 not O93. https://www.stereophile.com/content/devore-fidelity-orangutan-o96-loudspeaker-measurements
2. Which Art Dudley had for 19 months or so then bought them, and said Bonham sounded the best he had had heard on them
3. I just wrote saying it has roll off and woody tone, I differentiated it from those who have extensions, and you post about measurements. I also mentioned the roll off, which JA has highlighted (it's easy to hear). JA's conclusion "It looks as if John DeVore has accepted the inevitability of the problems caused by the O/96's physical concept and had carefully worked around them to produce a well-balanced speaker that is also drop-dead gorgeous." I think I have numerous times on this forum said why these are good compromises, never recommending it as an all out assault speaker.
4. I referred to them because of the simplicity of listening with NAF 2a3 and Airtight 300b integrateds which gets them out of the way to listen to classical recordings despite extension issues, so I guess that is clue for you to go do the opposite and highlight measurements. Btw, JA heard them with Devialet.
6. Herb has a small room. They need space, on the sides and at the back.
Just a small hole between 150-1000hz…
Lol and then a mountain followed by a 10 db slope from 1000 to 10000 hz .
Zero distortion lol
And other artists ?
Speakers like that sound indeed different because they accentuate certain freqs , making some music sound special / different
But here is the cruqs , go live with them for an extended amount of time and see if that still sounds great after a month or 2
And if you really wanted to highlight measurements, you should have highlighted the one for Leif's system, which is 92db@20Hz, 100db@30Hz and close to midbasshorn 110db at 75
The TAD driver I bought after listening, and which crosses over at 550 up, is here. The point to highlight is the one can appreciate a complete multiway balanced system AND a rolled off system. That was the point. Thanks to Andromeda for adding measurements to highlight the point I was writing in my previous posts on this thread
Art Dudley mentioned Bonzo. I used classical
have heard it with
1. Same room - NAF 2a3, Jadis Push pull 100w amp, Silvercore 833c 20 watt amp, Riviera hybrid 50w, and
2. Second room - Airtight 300b, Airtight EL 34, a 34 watt amp
3. third room - Mastersound 845,
4. Kondo Overture, push pull 30 watts.
I almost never make recommendations by taking a tour of Munich or once listen. Even with the Dava, which did surprise me, I added the caveat in yesterday's post of to be verified, and I have at least 3 more trips planned.
What do you mean ?
Leifs horn is 92 db at 20 hz 100 db at 30 and 110 db at 75 , thats a 18 db bass roll off from 75 hz as you state it
So, with the TAD 4003 covering up from 550 Hz, Leif rolls over to TAD 2002 just below 5k and extends well over 20 Khz. No tweeter, though someone can choose to add ET 703 instead, it is a preference (Living Voice and Tang's have that tweeter above). The dual JBL 15s play down from the 4003 to 75Hz, and roll over to gigantic front loaded subs that go down to 15 Hz
It is 10 db fall from from 75 to 30. But further queries should be directed to him. And it can be tuned.
It would seem as with most speakers they are room and amplifier dependent the DeVore, they appear to be quite ‘tailored“ in sound, and not attempting to achieve “neutrality” though the significant resonances seem to me suboptimal especially if piano is effected which would be a non starter for me
having said that I have heard many lossy cabinet designs sound very enjoyable, the colourations masking other system idiosyncratic issues
truly neutral speakers require great attention to not sound sterile and as Al has said be able achieve believable timbre
having said that I have heard many lossy cabinet designs sound very enjoyable, the colourations masking other system idiosyncratic issues
truly neutral speakers require great attention to not sound sterile and as Al has said be able achieve believable timbre
Didn’t JA show 'twas a function of AD listening room and not the speakers themselves
Looks like a lot of the problems are due to the room they are measured in though. The same speaker in another room looked much better (see Keds O96 review link above). I would take a LV speaker over the Devores but they are fun enough speakers that I can see why people like them.
JA is tampering with graph , he draws a line in the graph and calling it " the complex sum " .
Thats the only thing i have against it .
Just give me the raw data , conclusions i can " draw " myself
Spatially averaged ?
Has he drawn this line based on an average of several measurements ?
Just give me the straight measurements please , "averaging" i can do myself.
The basic bump at 1 khz hasn t changed though
Thats the only thing i have against it .
Just give me the raw data , conclusions i can " draw " myself
Spatially averaged ?
Has he drawn this line based on an average of several measurements ?
Just give me the straight measurements please , "averaging" i can do myself.
The basic bump at 1 khz hasn t changed though
looks like the impact from the horn dominates...TAD 4001 and JBL2441 are nearly identical in the 2397 horn. Put the 4003 in that horn and I bet it looks almost the same.
I have this one as well where 7 different violin makes are compared.
It is very clear the differences between violins on my system, so even though all sound like good violins, they all have their distinct characteristics. A good test for timbre resolution of a system. I will evaluate the Janine Jansen one soon and see if it is really possible to hear the difference between different years of Stradivari violins. Could that be a bridge too far?
I have heard live in my apartment an Amati, a Guadagnini, a Guarneri (del Gesu not one of the makers here...there was a father and brothers I think) and a Stradivarius. The Amati sounded small and not very full, the Guarneri was quite dark sounding, the Guad was beautiful in tone and lively but not that powerful and the Strad was a sonic cannon with full body and tone and huge projection. OH! And the bow used also made a profound difference in the character as well.
That would be telling Lee your listening room was moved into a sparsely converted barn stall due to the amount of horse hair floating around during fiery violin solos.
I do like how you cleverly noted where troubles comparing violins - across musicians - can be readily pointed towards. Months are required to undo and reconfigure work accomplished to satisfy the previous custodian. All the while adapting to how the violin needs to be played. Instruments known to have reached a point no further artful luthier work is possible... more you learn, the less you know.
Little doubt the character is intended to come through on recordings of this great magnitude. Everyone wants them to!
On the latter I again suggest musician has set the course. A very safe one.
Well they all very, but generally Guarneri are bigger darker sound and strads more intense
there is a nice video of the differences in intensity of the good ones at the Cremona Violin museum
If you can ever get to hear several rare old violins live with a top pro playing them don't hesitate, for an audiophile who cares about a listening experience that is "like live" it is a great education.
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