Visit to Marc C.'s (SpiritOfMusic's) House in England
- Thread starter Ron Resnick
- Start date
Unless the details say otherwise, i would hold out the possibility that the property may already be damp-proofed and heated.
The sort of person who might afford a place like that probably has quite a demanding significant other...
If in doubt you could nominate a uk resident forum member to pay a visit. Heck, I can even provide them with a digital therma-hygrometer, to measure temp and humidity
On the whole grade one listing issue, once a property has modern heating and electrics it only hinders you if you want to start making alterations. So a major problem for quaint but pokey Tudor cottages, not such a big deal for a full blown castle?
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Speaking of which I was whizzing round in my sister's Taycan a couple of weeks ago. Drove it for about 30 minutes.
TBH as soon as I sat in it I felt at home. It feels like driving my Boxster from the word go. However, it is quicker but also notably heavier and you can feel the extra inertia because of it. I am not sure it actually handles as well as a Boxster. It's just too big IMHO to do so.
Good car though.
Here it is parked up at my brother's.
I have a Macan now and given its weight it handles really well... however I really miss my Lotus for pure driving pleasure.
Gavin, I thought you bought up an interesting point about the concept of buying the very best, just affordable components, minimal if any expenditure on ancilliaries. That's very much DDK's concept, buy one of his favoured analog front ends, his favoured Lamm amps, and some iteration of horns, remaining pennies on cables, supports. Only spare budget for dedicated lines. Maximum attention to setup especially on the tt/arm/cart side.
Or where I've gone which is the best gear I could buy at the time, or certainly the best combination, gear that appeals to my biases, and then spending substantial sums subsequently on peripherals/ancilliaries/tweaks to enhance the core gear's performance holistically, thus improving the aggregate outcome.
Or where I've gone which is the best gear I could buy at the time, or certainly the best combination, gear that appeals to my biases, and then spending substantial sums subsequently on peripherals/ancilliaries/tweaks to enhance the core gear's performance holistically, thus improving the aggregate outcome.
I had a Macan for three solid days and drove it a lot.
Quite simply I thought it defied the laws of physics. I was amazed how well it handles given its size. My sister also also has a Cayenne. I definitely prefer the Macan.
It's not bad...
She drove to mine last week (120 miles)and cheekily charges it up for free. It's a great way to exploit friends and family LOL.
Well, 28 PET panels ordered. One of the most pleasant surprises recently was how effective 10 of these panels on my 30° descending eaves turned out, this move being purely speculative. Phil, member PJWD here, who strongly recommended the eaves application was proved absolutely right. And his suggestion is to now use these PETs to cover the reflection zones on front and side walls, and enable construction of bespoke front corner bass traps.
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Got be consistent, I don't find that term useful. Peter does. Imho, it's a truism...surely everyone wants a natural sound. I don't see anyone crowing they want an unnatural sound. That's pretty much what I posted in his old Sublime Sound thread.
So, I'm looking for a musical sound. A transparent sound. A tonally dense sound. A timbrally accurate sound. A microdynamically expressive sound.
Effectively all those things apparent in a sound that's natural. I would have thought.
These panels cover the same area my GIK panels do.
Are you saying anyone w GIKs doesn't have a natural sound?
So, I'm looking for a musical sound. A transparent sound. A tonally dense sound. A timbrally accurate sound. A microdynamically expressive sound.
Effectively all those things apparent in a sound that's natural. I would have thought.
These panels cover the same area my GIK panels do.
Are you saying anyone w GIKs doesn't have a natural sound?
Who needs walls and eaves when you can have PET panels?
How big are these things? 28 sounds like a lot.
I was making a joke that you are adding panels while Peter ripped his out in pursuit of “natural” sound. I hope it helps...
That is true, and I salute Peter's fascinating journey and amazing destination. I find Natural Sound an impossible concept to usefully form a philosophy around. I mean, maybe you can tell me what John Entwistle's bass guitar sounds like, and how a Natural Sound in a system is meant to portray it.
Even with classical and jazz, 100% acoustic music, there is so much variation between venues, recording techniques, mastering methods, vinyl v CD, to make the term still hard for me to utilise.
For me, my journey has hinged on the dramatic benefits, indeed revelation, that a room change can make such a difference, night and day, in musicality and resolution, and that's before anything is even optimally set up.
Both a substantial £40k full room construction...and a subsequent mere £40 fill of small hatch w acoustic wool.
Acoustic treatments have continued to provide great dividends, taking me to a sound that I'm not sure if its natural, but it's certainly immersive, effortless, saturated, tonally and timbrally discriminating, even and way more transparent than before.
The 10 PETs on the eaves were a really lovely suprise, I'm too curious to stop here Lol.
They are 125cm x 30cm x 2cm
Not installed as flat panels on the wall a la Modex type treatments, but gonna be fixed onto a heavy board sitting on floor, vertically but at 45° angles so they form a staggered or louvre pattern, and project off the wall they are situated against.
Will take up little more coverage than my existing GIKs.
And I'm planning to create way more effective corner bass traps than the GIK ones currently here.
Due to 45° install angles, 10 PETs on front wall will cover an aggregate 2m x 1.2m area, 7 PETs on each side wall will cover 1.5m x 1.2m...so, not so extravagant.
Even with classical and jazz, 100% acoustic music, there is so much variation between venues, recording techniques, mastering methods, vinyl v CD, to make the term still hard for me to utilise.
For me, my journey has hinged on the dramatic benefits, indeed revelation, that a room change can make such a difference, night and day, in musicality and resolution, and that's before anything is even optimally set up.
Both a substantial £40k full room construction...and a subsequent mere £40 fill of small hatch w acoustic wool.
Acoustic treatments have continued to provide great dividends, taking me to a sound that I'm not sure if its natural, but it's certainly immersive, effortless, saturated, tonally and timbrally discriminating, even and way more transparent than before.
The 10 PETs on the eaves were a really lovely suprise, I'm too curious to stop here Lol.
They are 125cm x 30cm x 2cm
Not installed as flat panels on the wall a la Modex type treatments, but gonna be fixed onto a heavy board sitting on floor, vertically but at 45° angles so they form a staggered or louvre pattern, and project off the wall they are situated against.
Will take up little more coverage than my existing GIKs.
And I'm planning to create way more effective corner bass traps than the GIK ones currently here.
Due to 45° install angles, 10 PETs on front wall will cover an aggregate 2m x 1.2m area, 7 PETs on each side wall will cover 1.5m x 1.2m...so, not so extravagant.
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So, phase 2 of 3 re PETs acoustic treatments now complete.
Phase 1 was 10 no. PETs on eaves, 5 either side of midline apex.
Phase 2 was today's basic positioning of 7 no. PETs on R side wall to cover both reflection points zones, ditto 7 no. on L, and 10 no. PETs on front wall, 5 either side of midline.
Phase 3 will be creation of 2 no. 1200x600x600 PETs-bounded corner bass traps filled w sheeps wool or Rockwool.
As discussed w Phil (member PJWD here) who got me going this route, the PETs are staggered to overlap, not flat against the wall.
Only had time to listen to a couple of CDs, a Bill Bruford/Earthworks disc, and Sonny Sharrock/Ask The Ages.
Both are highly energetic multi instrument fusion albums, and good tests.
I'm really happy with the results.
On the Sonny Sharrock disc, upright acoustic bass has a greater presence and articulation, but at no expense of a drier or tighter presentation.
On the Earthworks CD, Bruford's cymbals are nicely sparkling amongst the greater heft and texture of horns and piano.
I was really concerned that nearly three dozen acoustic panels in my room could create the dreaded over damped mastering room effect, resolution at the expense of lack of warmth.
But that's not the case at all. Microdynamics and timbre are maintained, flow is greater, zero pinching or dryness.
Leaves me confident that getting the bass traps done next will also be successful.
Phase 1 was 10 no. PETs on eaves, 5 either side of midline apex.
Phase 2 was today's basic positioning of 7 no. PETs on R side wall to cover both reflection points zones, ditto 7 no. on L, and 10 no. PETs on front wall, 5 either side of midline.
Phase 3 will be creation of 2 no. 1200x600x600 PETs-bounded corner bass traps filled w sheeps wool or Rockwool.
As discussed w Phil (member PJWD here) who got me going this route, the PETs are staggered to overlap, not flat against the wall.
Only had time to listen to a couple of CDs, a Bill Bruford/Earthworks disc, and Sonny Sharrock/Ask The Ages.
Both are highly energetic multi instrument fusion albums, and good tests.
I'm really happy with the results.
On the Sonny Sharrock disc, upright acoustic bass has a greater presence and articulation, but at no expense of a drier or tighter presentation.
On the Earthworks CD, Bruford's cymbals are nicely sparkling amongst the greater heft and texture of horns and piano.
I was really concerned that nearly three dozen acoustic panels in my room could create the dreaded over damped mastering room effect, resolution at the expense of lack of warmth.
But that's not the case at all. Microdynamics and timbre are maintained, flow is greater, zero pinching or dryness.
Leaves me confident that getting the bass traps done next will also be successful.
Another good test...Darkroom, a fantastic but little known ambient/prog electronica band from Cambridge, England.
Their stuff is a mix of loops, test tones, atonal patterns, drone bass, and atmospheric motifs. It's a little crazy and impenetrable, but there's method in the madness.
And undoubtedly decluttering the acoustic in my room, lowering the noise floor, cutting out the crap, is making their music way more intelligible and coherent.
At a fraction of the cost of competing systems, the PETs are real VFM and I'd really suggest audiophiles give the concept and product due consideration.
The room construction here pretty much saved my sound from the poor situation I had in my old apartment, sorting the bass suckout in my access hatch took things further, and my eaves and walls PETs are gilding the lily further.
PETs-based corner traps are last remaining efforts to optimise acoustics here.
Their stuff is a mix of loops, test tones, atonal patterns, drone bass, and atmospheric motifs. It's a little crazy and impenetrable, but there's method in the madness.
And undoubtedly decluttering the acoustic in my room, lowering the noise floor, cutting out the crap, is making their music way more intelligible and coherent.
At a fraction of the cost of competing systems, the PETs are real VFM and I'd really suggest audiophiles give the concept and product due consideration.
The room construction here pretty much saved my sound from the poor situation I had in my old apartment, sorting the bass suckout in my access hatch took things further, and my eaves and walls PETs are gilding the lily further.
PETs-based corner traps are last remaining efforts to optimise acoustics here.
Got any pics of what this looks like, Marc?
It's only a tentative install, will become permanent soon. I'll see if I can get some photos of basic setup posted soon.
Aesthetically, not too exciting...don't hold yr breath Lol.
Aesthetically, not too exciting...don't hold yr breath Lol.
